2/3 The Bob Dylan Songbook

The Basement Tapes

A On the very A Yea! Heavy A Yea! Heavy A Yea! Heavy

500

G next day, with a nose full of pus.

G and a bottle of bread G and a bottle of bread G and a bottle of bread

down in the flood (crash on the levee)

Down in the Flood (Crash on the Levee) Words and music Bob Dylan Released on The Basement Tapes (1967/1975). A different version was recorded Oct 1971 with Happy Traum (banjo) and released on Greatest Hits II (1971) Tabbed by Eyolf Østrem Take #1 (I assume): Capo 7th fret (sounding key D major); “another good friend’‘ instead of “another best friend’’ Take #2: Capo 2nd (or 3rd) fret (sounding key A (or B[) major) The G-C/g-G figure is a little bit everywhere where there is a G (especially line endings). the following is from the officially released take #2.

G

C/g-G C/g G

G Crash on the levee mama, C/g-G C/g-G water’s gonna overflow, C swamp’s gonna rise, G C/g-G no boat’s gonna row.

C/g-G Now you can train on down to William’s point, C/g-G you can bust your feet, C/g-G you can rock this joint.

C But oh mama, ain’t you gonna D G C/g-G miss your best friend now.

D You gonna have to find yourself G C/g-G another best friend somehow.

Now don’t you try and move me, you’re just gonna lose.

There’s a crash on the levee and mama you been refused.

Well it’s sugar for sugar and it’s salt for salt, if you go down in the flood it’s gonna be your fault.

Oh mama, ain’t you gonna miss your best friend now.

Yes you gonna have to find yourself another best friend somehow.

Well that high tide’s rising, mama don’t you let me down.

501

The Basement Tapes

Pack up your suitcase, mama don’t you make a sound.

Now it’s king for king, queen for queen, it’s gonna be the meanest flood that anybody’s seen.

Oh mama, ain’t you gonna miss your best friend now.

Yes you gonna have to find yourself another best friend somehow.

Greatest Hits vol 2 version G Crash on the levee mama, *) water’s gonna overflow, C7 swamp’s gonna rise, G *) no boat’s gonna row. **) Now you can train on down to William’s point, you can bust your feet, you can rock this joint.

C But oh mama, you gonna G *) miss your best friend now.

D You gonna have to find yourself Em C G *) another best friend somehow.

502

: . . . *) |-3---33333-3-----| |-0---11111-0-----| |-0---00000-0-----| x2 |-0---22222-2-----| |-2---------------| |-3---33333-3-----| **) This passage consists of a rather unsystematic alternation between the chords xx3x3x and xx2x2x, something like: : . . . : . . . |-----------------|-----------------| |---3---3-------2-|---3---3---3---2-| |-----------------|-----------------| etc |-3---3-------2---|-3---3---3---2---| |-----------------|-----------------| |-----------------|-----------------|

tiny montgomery

Tiny Montgomery Words and music Bob Dylan Released on The Basement Tapes (1967/1975) Tabbed by Eyolf Østrem Capo 2nd fret (sounding key E major)

Dsus2 D : . : . : . |---00-2-|-2--2-22--2----|---33-3-|-3--3-33--3----|---22-2-|-2--2-22--2----|---00-0-|-0--0-00--0----|--------|---------------|--------|---------------Well you...

D Well you can tell ev’rybody C Down in ol’ Frisco D C Tell ’em Tiny Montgomery says hello D . . . C . . . D . . . C . . .

D Now ev’ry boy and girl’s C Gonna get their bang D ’Cause Tiny Montgomery’s C Gonna shake that thing D Tell ev’rybody C Down in ol’ Frisco D That Tiny Montgomery’s comin’ C Down to say hello D . . . C . . . D . . . C . . .

Skinny Moo and T-bone Frank They’re all gonna take on down by the Bowning Bank One bird book And a buzzard and a crow Tell ’em all That Tiny’s gonna say hello Scratch your dad

503

The Basement Tapes

Do that bird Suck that pig And bring it on home Pink that dream And nose that dough Tell ’em all That Tiny says hello Now he’s king of the drunks An’ he squeezes, too Watch out, Lester Take it, Lou Join the monks The C.I.O. Tell ’em all That Tiny Montgomery says hello Now grease that gig And play it blank [tell them to] Go on out And gas that dog Trick on in Flower that smoke Take it on down begin to grow Now, play that low And pick it up Take it on in In a bowled cup Three-legged man And a hot-lipped hoe Tell ’em all Montgomery says hello Well you can tell ev’rybody Down in ol’ Frisco Tell ’em all Montgomery says hello

504

you ain’t goin’ nowhere

You Ain’t Goin’ Nowhere Words and music Bob Dylan Released on The Basement Tapes (1967/1975) and in a different version on Greatest Hits, vol 2 (1971) Tabbed by Eyolf Østrem

Official version G Clouds so swift Am Rain won’t lift C Gate won’t close G Railings froze G Am Get your mind off wintertime C G You ain’t goin’ nowhere G Am Whoo-ee! Ride me high C Tomorrow’s the day G My bride’s gonna come G Am Oh, oh, are we gonna fly C G Down in the easy chair!

I don’t care How many letters they sent Morning came and morning went Pick up your money And pack up your tent You ain’t goin’ nowhere Whoo-ee! Ride me high Tomorrow’s the day My bride’s gonna come Oh, oh, are we gonna fly Down in the easy chair!

Buy me a flute And a gun that shoots Tailgates and substitutes Strap yourself To the tree with roots You ain’t goin’ nowhere Whoo-ee! Ride me high Tomorrow’s the day My bride’s gonna come Oh, oh, are we gonna fly Down in the easy chair!

505

The Basement Tapes

Genghis Khan He could not keep All his kings Supplied with sleep We’ll climb that hill no matter how steep When we get up to it Whoo-ee! Ride me high Tomorrow’s the day My bride’s gonna come Oh, oh, are we gonna fly Down in the easy chair!

Alternate take Capo 2nd fret (sounding key A major) Chords as above Now look here dear Sue You best feed the cat The cat needs feedin’ You’re the one to do it Get your hat Feed the cat You ain’t goin’ nowhere Whoo-ee! Ride me high Tomorrow’s the day My bride’s gonna come Oh, oh, are we gonna fly Down in the easy chair!

Look here you bunch of basement noise You ain’t no punchin’ bag I see you walkin’ out there, and you’re the one to do it Pick up your nose, you canary You ain’t goin’ nowhere Just pick up that oil cloth cram it in the corner I don’t care if your name is Michael, you gonna need some boards Get your lunch you foreign bib You ain’t goin’ nowhere Now look here, you pile of money, you best go off here to find a file I’ve seen you out there beatin’ on you hammer, you ain’t no head lettuce Beat that buzzard lay ’m on the rug You ain’t goin’ nowhere

506

you ain’t goin’ nowhere

Greatest Hits vol. 2 version Chords as above Clouds so swift an’ rain fallin’ in Gonna see a movie called "Gunga Din" Pack up your money, pull up your tent McGuinn You ain’t goin’ nowhere.

Whoo-ee, ride me high Tomorrow’s the day That my bride’s a-gonna come Whoo-ee, are we gonna fly Down into the easy chair.

Genghis Khan an’ his brother Don Could not keep on keepin’ on We’ll climb that bridge after it’s gone After we’re way past it.

Whoo-ee, ride me high Tomorrow’s the day My bride’s a-gonna come Whoo-ee, are we gonna fly Down into the easy chair.

Buy me some rings an’ a gun that sings A flute that toots an’ a bee that stings A sky that cries an’ a bird that flies A fish that walks an’ a dog that talks.

Whoo-ee, ride me high Tomorrow’s the day That my bride’s a-gonna come Whoo-ee, are we gonna fly Down into the easy chair.

507

The Basement Tapes

Don’t Ya Tell Henry Words and music Bob Dylan Released on The Basement Tapes (1967/1975) in a version by The Band Tabbed by Eyolf Østrem, according to the version with Dylan, available as an outtake

Don’t ya tell Henry, Apple’s got your fly.

E I went down to the river on a Saturday morn, A-lookin’ around just to see who’s born.

I found a little chicken down on his knees, I went up and yelled to him,"Please, please, please!"

He said, "Don’t ya tell Henry, A Don’t ya tell Henry, B7 Don’t ya tell Henry, (n.c.)

E (turnaround) Apple’s got your fly."

E I went down to the corner at a-half past ten, I’s lookin’ around, I wouldn’t say when.

I looked down low, I looked above, And who did I see but the one I love.

A She said, "Don’t ya tell Henry, E Don’t ya tell Henry, B Don’t ya tell Henry, A (n.c.)

E Apple’s got your fly."

E Now, I went down to the beanery at half past twelve, A-lookin’ around just to see myself.

A I spotted a horse and a donkey, too, E I looked for a cow and I saw me a few.

A They said, "Don’t ya tell Henry,

508

don’t ya tell henry

E Don’t ya tell Henry, B Don’t ya tell Henry, A (n.c.)

E Apple’s got your fly."

Now, I went down to the pumphouse the other night, A-lookin’ around, it was outa sight.

I looked high and low for that big ol’ tree, I did go upstairs but I didn’t see nobody but me.

I said, "Don’t ya tell Henry, Don’t ya tell Henry, Don’t ya tell Henry, Apple’s got your fly."

The Band’s version The following is played as an intro (minus the first bar) and between verses. The tab is just of the one guitar that plays the same thing every time; in addition, the most pronounced guitar plays different licks over this background. : . . . : . . . : . . .

---|-------------------------|----------------------12-----|---------------------------| ---|-------------------------|--------------------------13-|---------------------------| ---|-----------------12------|-14--14-14--14-14--12--------|-14--12-11--------12-------| ---|-----11----14------------|-----------------------------|------------14----------14-| -12|-------------------------|-----------------------------|---------------------------| ---|-------------------------|-----------------------------|---------------------------| : . . . . . : |----------------------------------------|--|----------------------------------------|--|-12--12------12--12----14---------------|--|-----------14---------------------------|--|----------------------------------------|--|----------------------------------------|--Yes, I...

A Yes, I went down to the river on a Saturday morn, I’s lookin’ around just to see who’s born.

I spied a little chicken down on his knees, I went up and yelled to him,"Please, please, please!"

He said, "Don’t ya tell Henry, D Don’t ya tell Henry, E Don’t ya tell Henry,

509

The Basement Tapes

(n.c.) [intro lick] Apple’s got your fly."

Yes, I went down to the beanery at half past twelve, I’s lookin’ around just to see myself.

I looked high and low, and I looked up above, But who did I see but the one I love.

She said, "Now, don’t ya tell Henry, Don’t ya tell Henry, Don’t ya tell Henry, Apple’s got your fly."

Yeah, I went down to the whorehouse the other night, I was lookin’ around, I was outa sight.

I looked at a home, and I saw [it ain’t new], I looked for a cow and I saw me a few.

They said, "Don’t ya tell Henry, Don’t ya tell Henry, Don’t ya tell Henry, Apple’s got your fly."

Yeah, I went down to the river on a Saturday morn, I’s lookin’ around just to see who was born.

I saw a little chicken lie down on his knees, I went up and yelled to him,"Please, please, please!"

He said, "Don’t ya tell Henry, Don’t ya tell Henry, Don’t ya tell Henry, Apple’s got your fly."

510

nothing was delivered

Nothing was Delivered Words and music Bob Dylan Released on The Basement Tapes (1967/1975) Tabbed by Eyolf Østrem G (n.c.)

C Nothing was delivered G And I tell this truth to you, D Not out of spite or anger G (C/g G) But simply because it’s true. (n.c.)

C Now, I hope you won’t object to this, G Giving back all of what you owe, D The fewer words you have to waste on this, G (C/g G) The sooner you can go. (n.c.)

Em G Nothing is better, nothing is best, G D/f# C/e G C D(/a) G Take care of yourself and get plenty of rest.

Nothing was delivered But I can’t say I sympathize With what your fate is going to be, Yes, for telling all those lies.

Now you must provide some answers For what you sold has not been received, And the sooner you come up with them, The sooner you can leave.

Nothing is better, nothing is best, Take heed of this and get plenty rest.

(Now you know) Nothing was delivered And it’s up to you to say Just what you had in mind When you made ev’rybody pay.

No, nothing was delivered, Yes, ’n’ someone must explain That as long as it takes to do this Then that’s how long that you’ll remain.

Nothing is better, nothing is best, Take heed of this and get plenty rest.

511

The Basement Tapes

Open the Door, Homer Words and music Bob Dylan Released on The Basement Tapes (1967/1975) Tabbed by Eyolf Østrem Capo 3rd fret (sounding key B[ major) G G Now, there’s a certain thing Em That I learned from Jim G D That he’d always make sure I’d understand G And that is that there’s a certain way Em we all must swim C If we expect to live off D Of the fat of the land.

Am Open the door, Rachel [Richard?], I’ve heard it said before.

Open the door, Rachel, I’ve heard it said before C G But I ain’t gonna hear it said no more.

Now, there’s a certain thing That I learned from my friend, Mouse A fella who never blushes And that is that one must always flush out his house If he don’t expect to be housing flushes.

Chorus "Take care of all your memories" Said Mick "For you cannot relive them And remember when you’re out there Tryin’ to heal the sick That you must always First forgive them."

Chorus

512

this wheel’s on fire

This Wheel’s on Fire

By Bob Dylan and Rick Danko Released on The Basement Tapes (1967/1975) Tabbed by Eyolf Østrem

Am If your mem’ry serves you well, Bdim We were goin’ to meet again and wait, E So I’m goin’ to unpack all my things Dm (F) Am And sit before it gets too late.

C Am No man alive will come to you C Am With another tale to tell, C Am And you know that we shall meet again Dm F Am If your mem’ry serves you well.

Dm F wheel’s on fire, C G Rolling down the road, C G F C Best notify my next of kin, F G A This wheel shall explode!

If your mem’ry serves you well, I was goin’ to confiscate your lace, And wrap it up in a sailor’s knot And hide it in your case.

If I knew for sure that it was yours . . .

But it was oh so hard to tell.

But you knew that we would meet again, If your mem’ry serves you well.

This wheel’s on fire, Rolling down the road, Best notify my next of kin, This wheel shall explode!

If your mem’ry serves you well, You’ll remember you’re the one That called on me to call on them To get you your favors done.

And after ev’ry plan had failed And there was nothing more to tell, You knew that we would meet again, If your mem’ry served you well.

513

The Basement Tapes

This wheel’s on fire, Rolling down the road, Best notify my next of kin, This wheel shall explode!

514

all you have to do is dream

All You Have To Do Is Dream Written by Bob Dylan, I guess Performed by Bob Dylan and the Band in the Basement, summer 1967 Tabbed by Simon Bedford and Eyolf Østrem There were two takes, and since they are virutally identical, I’ll present both. . .

The chords are written as if played with a capo on the 1st or the 3rd fret (for the two takes). On the recordings the guitar part is played with barre chords higher up on the neck.

G Am Bm Am If the farmer has no silo G Am Bm Am And his fuel cost runs up high G Am Bm Am Well, that’s just how much I would love you G Am Bm Am if you’d just only let me try C Am in some nice young up-to-date kitchen C Am let us get aquainted, dear GAm Bm Am and them old floor-birds would just quit eatin’ C D G And just grin from ear toear Two floor birds and a prudent baby chick, yes that’s me That ain’t much to bust But restriction causes damage And damage causes lust So, poor little girl, come blow this horn Hard as any horn might seem It’s very easily done, actually All you have to do is dream. [instrumental verse] Well, the whole back-strappers are a dime a dozen And I can get a cup for a nickle Yes, but look what an earful I get and it’s all awful too Everytime I try to go get me a little tickle So, give me one sweet loaf of bread just one sweet loaf, I’ll fill it up and I’ll be gone Yes, just like some of these old floor birds who fly from dawn to dawn who fly from dawn to dawn who fly from dawn to dawn who fly from dawn to dawn

515

The Basement Tapes

Take #2 If the farmer has no silo And his fuel cost runs him up very high Well, that’s just how much I’d love you if you’d just only let me try In some nice young up-to-date kitchen Let us get aquainted, dear Then them old floor-birds will just quit eatin’ And just grin from ear toear Two floor birds and a prudent baby chick Yes, that ain’t much to bust But restriction causes damage And damage causes lust.

So, poor little girl, come blow this horn Hard as any hole might seem It’s very easily done, actually All you have to do is dream. [instrumental verse] Well, those old whole back-strappers are a dime a dozen And I can get a cup for a nickle Yes, but look what an earful I get, and it’s awful too, Everytime I try to go get a little tickle Give me just one sweet loaf of bread Fill it up, and I’ll be gone Just like some old floor-bird who just flies from dawn to dawn (yes...) flies from dawn to dawn (look at that old floor-bird, he just...) flies from dawn to dawn (look at that crazy floor-bird, he just...) flies from dawn to dawn (what a floor-bird, he...) flies from dawn to dawn.

516

bonnie ship the diamond

Bonnie Ship the Diamond Trad.

Played by Bob Dylan and the Band in the Basement of 1967 Lyrics modified from It’s not a house it’s a home page. Chords tabbed by Eyolf Østrem On my copy it plays in B[m, thus a capo on the 1st fret.

The chords in the first verse aren’t quite like in the rest of the verses, which follow the simpler pattern of the second verse. [introductory search for chords omitted for brevity] Am Am C/g D/f# Well, the bonnie ship was a good old ship Am E She was a-fishin’ on a [leading chain] Am /c C/g And me an’ John oh was a long catch[-on?]

D/f# F E Am It was the last of the ones I’ve seen Am G Am So with sword and a rope in bay E Feel all that your heart be sailed Am C/g D/f# When that bonnie ship the Diamond goes Am Em Am fishin’ for the whales.

Am D Well, we feud all night, the cabin gauge, Am E It was a-more than feelin’ bad Am D And with all kind friends we watched in fear Am Em Am It was a naught time we ever had.

Am D Am So it’s rise up my lads E Let your hearts never fail Am C/g D/f# When that bonnie ship the Diamond goes F E Am fishin’ for the whales.

An’ all day long at Vera Cruz We sailed [all the likes] to bind With no heavy moan, any hearts [of stone] No aid was cried [tried?] for mine.

So it’s cheer up my boys

517

The Basement Tapes

Let your hearts never fail When that bonnie ship the Diamond Goes fishin’ for the whales.

Well, now along Cape Fate, ’twas lit in red All along cape Horn And from Vera Cruz we sailed ahead It was all in the time of storm.

So, it’s cheer on up my boys Let your hearts never fail When that bonnie ship the Diamond Goes fishin’ for the whales.

518

one man’s loss

One Man’s Loss Written by Bob Dylan, I guess Performed by Bob Dylan and the Band in the Basement, summer 1967 Tabbed by Eyolf Østrem Too bad the sound is so bad on this, because it’s a text with potential. The bracketed passages are just representations of the sounds I seem to hear, with no claim for meaning or authority.

I’d suggest a capo on the 5th fret (sounding key D major), with the following figure going through the whole song: A A6 A D/a |-----------------|-----------------| |-----------------|---------3---3---| |-2---2---2---2---|-2---2---2---2---| |-2---2---4---4---|-2---2---4---4---| |-0---0---0---0---|-0---0---0---0---| |-----------------|-----------------|

[first verse inaudible] A [Let’s take a cherry], I can’t make it no more Can’t stop, she’s breaking all time on the floor Better come down easy or don’t come down at all You don’t try and to please me, somebody’s gonna fall D A One man’s loss always is another man’s gain E D A Yes, one man’s joy always is another man’s pain Eight o’clock in the morning, [better] step aside [let me be to your] warning, you better go by Three times a loser, number 45 better not lose her, best stayed alive One man’s loss always is another man’s gain Yes, one man’s joy always is another man’s pain Wish I’d have found me [...] at the wall One look at the watch, you better [lord at all] You can’t stop it or wait it [...] at night Too hard to keep you waiting, calls me aside One man’s loss always is another man’s gain Yes, one man’s joy always is another man’s pain

519

The Basement Tapes

Rock Salt and Nails Words and music Bruce (“U. Utah”) Phillips (thanks to Jonmark Pierce for notifying me) Played by Bob Dylan during The Basement Tapes sessions, summer 1967 Tabbed by Eyolf Østrem

G G C/g G C/g G On the banks of the river where the willows hang down Em G C/g G And the wild birds all warble with a low moaning sound Em G C/g G Down in the hollow where the water runs cold C /b /a G C/g G It was there I first listened to the lies that you told Now The The And

I lie on my bed and I see your sweet face past I remember time cannot erase letter you wrote me it was written in shame I know that your conscience still echoe’s my name

Now the nights are so long, ah, sorrow runs deep Nothing is worse than a night without sleep I’ll walk out alone and look at the sky Too empty to sing, too lonesome to cry Now, if the ladies were blackbirds and the ladies wore thrushes I’d lie there for hours in the chilly cold marshes If the ladies were squirrel’s with them high bushy tails I’d fill up my shotgun with rock salt and nails

520

(be careful of) stones that you throw

(Be Careful of) Stones That You Throw Written by E. Dodd Recorded by Bob Dylan and The Band in the Basement, Summer of 1967 Tabbed by Eyolf Østrem

[fragment:] . . . and I knew right away That it was gossip not flowers that she had on her mind And this is what I heard my neighbor say.

[new start, in D:] G D A tongue can accuse or carry bad news G D The seeds of destruction it will sow.

G D So unless you have made no mistakes in your life D A D Be careful of stones that you throw.

D A neighbor was passin’ my garden one time G She smiled and I knew right away D That it was gossip not flowers that she had on her mind A7 And this is what I heard my neighbor say.

D "That bad girl down the street, she should be run from our midst.

G She drinks and she talks quite a lot (D) She knows not to speak to my child nor to me.”

A7 My neighbor then smiled and I thought: A tongue can accuse and carry bad news The seeds of destruction it will sow.

So unless you have made no mistakes in your life Be careful of stones that you throw.

A car speeded by, the screamin’ of brakes and a sound that made my blood chill For my neighbor’s one child had been pulled from the path And saved by a girl, lyin’ still.

Her child was unhurt and my neighbor cried out

521

The Basement Tapes

"Oh, who was that brave girl so sweet?�

I covered the crushed broken body and said "That bad girl down the street.�

A tongue can accuse and carry bad news The seeds of destruction were sown So unless you have made no mistakes in your life Be careful of stones that you, you throw.

522

trail of the buffalo

Trail of the Buffalo (aka Buffalo Skinners) Traditional Tabbed by Eyolf Østrem All versions are played with a lot of hammer-ons.

Gleason Home Tape, Feb/March 1961 : . . . |-----0-0-----0-0-| |-----0-0-----0-0-| |-----0-0-----0-0-| |-----------------| |---------0h2-----| |-0---------------| |: Em .

.

. :| G . Em .

.

. |G

.

Em

.

.

. etc

Am Em Come ’round you old-time cowboys and listen to my song Am Em Please do not grow weary, I’ll not detain you long Am Em Concerning some young cowboy who did agree to go Am Em To spend the summer pleasantly on the trail of the buffalo

.

.

.

G

.

Em

.

.

etc.

I found myself in Griffin in the year of ’83 When a well-known famous drover came walkin’ up to me Saying, "how do you do, young cowboy, how would you like to go and spend the summer pleasantly on the trail of the buffalo?"

Well, me being out of work right then, to this drover I did say This a-going out on the buffalo range depends upon your pay But if you pay good wages, transportation to and fro Think I might go with you on the hunt of the buffalo Yes, I If you But if You’ll

will pay good wages and transportation too agree to work for me until the season’s through you do get homesick and try to run away starve to death on the prairie and also lose your pay

With all Some ten Our trip Until we

this flattering talking he signed up quite a train of twelve in numbers, some able-bodied men it was a pleasant one as we hit the west-ward road hit old Boggy Creek in old New Mexico

There our pleasures ended and our troubles they begun A lightning storm it hit us and it made the cattle run I got all full of stickers from the cactus that did grow Outlaws watching to pick us off from the hills of Mexico Well now, the working season ended but the drover would not pay

523

The Basement Tapes

He said "You went and drunk too much, you’re all in debt to me" But the cowboys never did hear of such a thing as a bankrupt law So we left that drover’s bones to bleach on the hills of the buffalo

Los Angeles, Aug 2, 1988 In some verses the final Em is played as an Em9 (022032) or as Em7 (022030) Em C Em ’Twas in the town of Jacksboro in the year of ’73 Em C Em When a well-known, famous drover came a-steppin’ up to me Em C G C/g G Saying, How do you do, young cowboy, and how’d you like to go Em C Em And spend the summer pleasantly on the trail of the buffalo

/f#

Me being out of work right then, to this drover I did say This going out on the buffalo range depends upon your pay But if you will pay good wages, transportation to and fro I think I might go with you all the way to the buffalo I will pay good wages, and transportation too If you’ll agree to work for me until the season’s through But if you do get homesick and try to run away Em9 You’ll starve to death on the buffalo range and also lose your pay.

With all this flattering talking, he signed up quite a train Some ten or twelve in number, some able-bodied men Our trip it was a pleasant one as we hit the westward road ’Til we reached old Boggy Creek in the range of the buffalo There our pleasures ended and our troubles they begun A lightning storm it hit us and it made the cattle run Got all full of stickers from the cactus that did grow Indians [/outlaws] waiting to pick us off from the hills of Mexico [tape cut] Our souls were cased in a buffalo [weed], and our hearts were cased in steel.

The hardships on the prairie, they make your poor heart [real] couldn’t drink the water, oh boys it was no [go(?)] of us on the buffalo range in the hills of the buffalo.

Well, the working season ended but the drover would not pay He said "You boys went and drunk too much, you’re all in debt to me" But the cowboys never did hear of such a thing as a bankrupt law So we left that drover’s bones to bleach in the hills of the buffalo Now we crossed Pease River, and homeward we are bound No more on the buffalo range will we ever be found Go home to our wives and sweethearts and tell others not to go For God has forsaken the buffalo range and the damned old buffalo.

524

trail of the buffalo

Maple, Jul 26, 1991 Dmadd9/a x03230 Fmaj7 x03210 or x33210 or 133210 Am Dmadd9/a Am ’Twas in the town of Jacksboro in the year of ’73 Am Dmadd9/a Am When a well-known, famous drover came steppin’ up to me Am C F(maj7) Saying, How do you do, young cowboy, and how’d you like to go Am Dmadd9/a Am And spend the summer pleasantly on the range of the buffalo

Stockholm, Jun 26, 1991 Am Dmadd9/a Am ’Twas in the town of Jacksboro in the year of ’73 Am Dmadd9/a Am When a well-known, famous drover came steppin’ up to me Am C F Saying, How do you do, young cowboy, and how’d you like to go Am Dmadd9/a Am And spend the summer pleasantly on the range of the buffalo

The rest of the verses are played more like the Maple version. No two verses are played the same way, though.

Stuttgart June 17, 1991 Am C Am ’Twas in the town of Jacksboro in the year of ’73 Am C Am When a well-known, famous drover came steppin’ up to me Am C F(maj7) Saying, How do you do, young cowboy, and how’d you like to go Am And spend the summer pleasantly on the range of the buffalo

525

The Basement Tapes

One Single River (Song For Canada) Written by Ian Tyson & Peter Gzowski Recorded by Bob Dylan and the Band in the Basement, summer 1967 Tabbed by Eyolf Østrem Capo 3rd fret (sounding key B[ major)

G How come we can’t Am D7 Why can’t you see G We’ve got by far Am And I still share

E talk to each other any more?

G I’m changing too?

E too long to end it feeling wrong D too much with you

Em D Just one great river always flowing to the sea Em D One single river rolling in eternity G E Two nations in this land that lies along its shore Am D G But just one river rolling free.

How come you shut me out as if I wasn’t there What’s this new bitterness you’ve found?

However wronged you were, however strong it hurt It wasn’t me who held you down.

One One Two But

single river always flowing to the sea single river rolling in eternity nations in this land that lies along its shore just one river rolling free.

[Instrumental verse + refrain] Why can’t you understand I’m glad you’re standing proud I know you made it on your own But in this new pride you’ve earned, I thought you might have learned That you don’t have to stand alone Lonely northern river always flowing to the sea One single river rolling in eternity Two nations in this land that lies along its shore But just one river rolling free.

526

try me

Try Me Written by Bob Dylan Recorded by Bob Dylan and The Band in the Basement, Summer 1967 Tabbed by Eyolf Østrem I warn you: after the two first lines, the lyrics don’t make any sense at all. The only reason I’ve bothered tabbing this, is that the tune is interesting.

Capo 3rd (or 2nd) fret

F . . .

Am Try me C Try me, little girl, G C We could raise a family C Well they treat you like a dummy, well they treat you like a slave Nothin’ bout what you said, it’s all what you gave F Try me Am Try me C Try me, little girl, G C We could raise a family C Well, they treat so low F C [at the time I’ll ring out of way] C Dm Em F G [Oh, nika tho nika, three’s gotta you gonna way] C Oh, well it’s three in the morning, I get no room Based on cell she is sittin’ on room F Try me Am Try me C Try me, little girl,

527

The Basement Tapes

G C We gonna raise a family

528

i don’t hurt anymore

I Don’t Hurt Anymore Written by Don Robertson and Jack Rollins Recorded by Bob Dylan and the Band in the Basement, Summer of 1967 Tabbed by Eyolf Østrem Capo 5th fret (sounding key C major) The rhythm of the intro figure recurs here and there in the song, in the chords between the verse lines.

Intro: G C/g G : . . . : . . . |-3-----3---3-3-3-3-3---3-|-3------------------|-0-----0---0-1-1-1-1---1-|-0------------------|-0-----0---0-0-0-0-0---0-|-0------------------|-0-----0---0-2-2-2-2---2-|-0------------------|-2-----2---2-------------|-2------------------|-3-----3---3-3-3-3-3---3-|-3------------------I don’t hurt . . . [n.c.]

C I don’t hurt anymore G C/g G All my teardrops are dry.

D No more walking the floor G C/g G7 With that burning inside. [n.c.]

C Just to think it could be G C/g G Time has opened the door D And at last I am free. [n.c.]

G C G I don’t hurt anymore.

C No use to deny I wanted to die G C/g G The day that you said we were through.

A7 But now that I’m fine, you’re out of my mind, D7 [n.c.]

I can’t believe that it’s true.

I forgot it somehow That I cared so before And it’s wonderful now.

I don’t hurt anymore.

529

The Basement Tapes

People Get Ready

By Curtis Mayfield Played by Bob Dylan during The Basement Tapes sessions (1967), and released on the promo EP for Renaldo and Clara (1976/78) Tabbed by Eyolf Østrem

Renaldo and Clara version Same chord progression repeated throughout. The lyrics aren’t always decipherable, mainly because Dylan doesn’t quite remember them. Which makes this a wonderful proof of his ability to improvise on the spot.

Bb Gm Eb Bb People get ready, there’s a train a comin’ picking up passengers coast to coast All you need is faith to hear the diesels a-hummin’ [...] among the loved the most.

People get ready for that train to Jordan picking up passengers [...]

All you need is faith to hear those diesels a-hummin’ Don’t need no ticket, you just thank the Lord There ain’t no roomfor the hopeless sinner Who would hurt all mankind just to save his own Have pity on those whose chances get slimmer For there’s no hiding place among the Kingdom’s throne So people get ready, there’s a train a-comin’ don’t need no baggage, you just get on board All you need is faith to hear the diesels a-hummin’ Don’t need no ticket, you just thank the Lord [D: "remember this one"]

Basement Tapes version C (/e) F C People get ready, there’s a train a comin’ F C You don’t need no baggage, you just get on board F C All you need is faith to hear the diesels hummin’ Am F C Don’t need no ticket, you just thank the Lord People get ready for the train to Jordan picking up passengers from coast to coast Faith is the key, open the doors and board ’em There’s hope for all among those loved the most.

530

people get ready

There ain’t no roomfor the hopeless sinner Who would hurt all mankind just to save his own Have pity on those whose chances grow thinner For there’s no hiding place against the Kingdom’s throne So people get ready, there’s a train a comin’ You don’t need no baggage, you just get on board All you need is faith to hear the diesels hummin’ Don’t need no ticket, you just thank the Lord

531

The Basement Tapes

Baby, Won’t You Be My Baby?

Presumably written by Bob Dylan Recoreded by Bob Dylan and the Band in the Basement, summer 1967 Tabbed and transcribed by Eyolf Østrem Chord suggestions: Bb F(7) Eb(7)

688766 x8786x x6564x

Or any other three-chord chords.

Bb Well, I looked as far as I could see, baby F I looked as far as I could see, baby Bb Well, I looked as far as I could see, Eb All mankind in misery, Bb F Bb Baby, won’t you be my baby?

Well, I looked east, I looked I looked east, I looked west, Well, I looked east, I looked There was nothing I could see Baby, won’t you be my baby?

west, baby baby west that I liked the best

[Go down the land], drop your heavy load, baby Go down the land, drop your load, baby Go down the land, drop your load, Just don’t look back, it’s a dead end road Baby, won’t you be my baby?

Now east and west the fire will rise, baby east and west the fire will rise, baby east and west the fire will rise Shut your mouth, close your eyes, Baby, won’t you be my baby?

Oh, [I been off] savin’ your I ain’t tryin’ to mess, I’ll I ain’t tryin’ to mess, just but it’s your life, it’s not Baby, won’t you be my baby?

532

time, baby just save your time, baby save your time, mine

young but daily growin’

Young But Daily Growin’ Traditional As performed by Bob Dylan during The Basement Tapes sessions, and in the Carnegie Chapter Hall, Nov 4, 1961 Tabbed by Eyolf Østrem

Basement Tapes version [...]

But he’s young and he’s daily growin’ G D G Daughter, dearest daughter, I have done you no Em G I’ve wed you to non other than a wealthy man’s G C G Em And he will be a man to you when I am dead and G D G C/g G He’s young but he’s daily growin’ Ah, one day as I was I saw the boys, they And my own true love He was young, but he

C G wrong D son C G gone

C/g G

C/g G

walking all alone down by the schoolwall were playing at the ball was the fairest of them all was daily growin’.

At the age of sixteen years he was a married man at the age of seventeen he was the father of a son At the age of eighteen years, ’round his grave the grass grew long Cruel death had put an end to his growin’ Oh, the springtime With ornaments and Oh yes, once I had But I’ll watch his

is leavin’ now, and summer’s comin’ on fans the ladies all pass on a true love, but now I have none. bonnie son, while he’s growin.

Heard Liam [Clancy] sing this in the White Horse bar, Irish bar.

G C D G C G Oh the trees they do grow tall and the leaves are green.

G C G/b D And there’s many a day that you and I have seen.

G C G Em C G But once I had a true love, but now I walk alone.

G D G He’s a bonny lad, he’s daily growing.

C . . |C/b . /a |G . . |. . . |D . . |. . . |. . . |. . .

Oh father, dearest father, you’ve done me great wrong.

533

The Basement Tapes

You’ve married me to a boy who is much too young.

Oh I am twice twelve, and he is but fourteen He’s a bonnie lad, he’s young but he’s growing.

Oh father, dearest father, oh and if it pleases you.

I’ll send my man on to a school for a year or two.

And on top of his college cap, he’ll wear a ribbon bow so that the other girls might know that he’s married.

One day when I was walking all alone down by the schoolwall, Em C G D I saw the boys were playing at the bouncing of the ball.

And my own true love was the fairest of them all.

He’s a bonny lad but he’s daily growing.

At the age of fourteen he was a married man.

At the age of fifteen the father of a son.

At the age of sixteen on his grave the grass grew green.

Cruel death had put an end to his growing.

I’ll buy my love a shroud of ornamental ground and place it on his grave. Oh the tears come trippling down.

For once I had a true love but now I have not.

But I’ll watch his bonny son while he’s a-growing.

Minnesota Pary Tape II in May 1961 Lyrics transcribed by Bob T. Guevara G C G Em C G Oh the trees they grow tall and the leaves they are green.

Em C D And many a-time my true love I’ve seen.

G C G Em C G And many a-night how I walked all alone.

G Em D G When my Johnny was a long time a-growin’.

C

/b /a

G

I remember so well over my father’s wall I heard the boys were singing, I can hear them dancin’-call.

And my own true love was the fairest of them all.

He’s young, but he’s daily a-growin’.

Oh father, dear father, you’ve done me great wrong.

You’ve married me of to a boy that’s much too young.

Oh I am twice twelve, and he is but fourteen He’s young, but he’s daily a-growin’.

Oh daughter, dear daughter, I’ve done you no wrong.

I’ve married you to a rich man’s son.

Oh he will be a lord for you to wait upon.

Yes he’s young, but he’s daily a-growin’.

534

young but daily growin’

At the age of At the age of At the age of And death put

fourteen he was a married man. fifteen the father of a son. sixteen has a grave, it was green. a stop to his growin’.

But he’ve born me one son, so I can pass the time Wachin’ my boy rised a great a-year.

And I will wachin’ rise, ’til he becomes a man.

He’s young now, but he’s daily a-growin’.

535

The Basement Tapes

Quinn The Eskimo (The Mighty Quinn) Words and music Bob Dylan Recorded during The Basement sessions (summer 1967) Released in a live version from the Isle of Wight festival (1969) on Self Portrait (1970) and on Greatest Hits vol. 2 (1971). Original basement version released on Biograph (1985) Tabbed by Eyolf Østrem

Basement (= Biograph) version There are two takes from the Basement tapes sessions. They differ only on minor points.

Capo 4th fret (sounding key E major) C C F C F Ev’rybody’s building the big ships and the boats, C F Some are building monuments, C F Others are jotting down notes, C F Ev’rybody’s in despair, C F Ev’ry girl and boy C G But when Quinn the Eskimo gets here, F C Ev’rybody’s [gonna] jump for joy.

C G C Come all without, come all within, C G F C You’ll not see nothing like the mighty Quinn.

Now, I likes to do just like the rest, I likes my sugar sweet, But guarding fumes and making haste, *) It ain’t my cup of meat.

Ev’rybody’s just standin’ round ’neath the trees, Feeding pigeons on a limb But when Quinn the Eskimo gets here, them pigeons’ll go to him.

Come all without, come all within, You’ll not see nothing like the mighty Quinn.

A lamp gate, a gunny dew, I can’t recite them all **) Just tell me where it hurts ***) And I’ll tell you who to call Nobody can get no sleep, There’s someone on ev’ryone’s toes But when Quinn the Eskimo gets here, Ev’rybody’s gonna doze.

Come all without, come all within, You’ll not see nothing like the mighty Quinn.

536

quinn the eskimo (the mighty quinn)

*) The Self Portrait version has “But jumping queues and making haste” *) The copyrighted lyrics has: “A cat’s meow and a cow’s moo, I can recite ‘em all’’. Self Portrait has something similar. **) The other take has: “Just tell me where to put them” The live version is played in A, with the chords A, D and E.

537

The Basement Tapes

I’m Not There (1956) Bob Dylan Recorded during The Basement Tapes sessions (1967), and released (unofficially) on the Genuine Basement Tapes.

Lyrics transcribed by J.W. Mahoney, with some emendations to make it sound more like a meaningful text (which I don’t think it necessarily has to be; see this note for a short explanation of why).

Here’s a different transcription Tabbed by Eyolf Østrem Capo 4th fret (original key B major) The Gs are regularly embellished by 320003-3x2013-320003-turns.

G Well it’s alright she’nay she’s all the time in my F neighborhood Am she cried both day and night, G I know it because it was there.

G It’s a milestone F but she’s down on her luck, Am and she daily salutin G but to make him hard to buck, I bevaid ...

C I believe where she stopping ifshe wants time to care, Em I believe that she’d look upon F deciding to care, Em and I go by the Lord F in a way she’s on my way, G but I don’t belong there.

No I don’t belong to her, I don’t belong to anybody, she’s my prize forsaken angel

538

i’m not there (1956)

but she don’t hear me cry.

She’s a long-hearted mystic and she can’t carry on, when I’m there she’s alright, but she’s not, when I’m gone Heaven knows that the answer she’s don’t call in no-one, she’s the way, a sailing beautiful, she’s mine, for the one, and I loss a heavy tension, by temptation less it runs but she don’t allah me but I’m not there, I’m gone.

Now I’ve cried tonight like I cried the night before, and I’m knees on the hassle, but I dream about the door.

So-long Jesus-saken, blind fate, with a tell, it don’t hang contonation she’s my ald fare-thee-well.

Now when I’ll treat the levee, I was born to love her, but she knows that the kingdom weighs so high above her, and but but I’m

I run but I race, it’s not too fast a sleoun, I don’t perceive her, not there, I’m gone.

Well it’s all about deffusion That I cry for her veil, I don’t need anybody now beside me to tell And it’s all affirmation I recieve, but it’s not, She’s a lone-hearted beauty but she’s gone like the spot if she waoun...

Yes, she’s gone like the rainbow that was shining yesterday but now she’s a-home beside me and I’d like her to stay she’s a bone-forsaking beauty and it don’t trust anyone, and I wish I was beside her, but I’m not there, I’m gone.

539

The Basement Tapes

Well it’s a too hard to stake-in, and I don’t bart-b’lieve It’s all bag for tebusing, but she’s hard, too hard to leave.

It’s alone, it’s a crime the way she moult me around was she told for to hate me by this dong fortaken clown.

Yes I believe that it’s rightful, oh I believe it in my mind, I b’told like I said when I before carry on the crying, and she’s all good like I said, carry I wish I was there but I’m not there,

540

to told her, on, to help her, I’m gone ...

silent weekend

Silent Weekend Words and music Bob Dylan Recorded during the Basement Sessions (1967) Tabbed by Eyolf Østrem It actually sounds as if Dylan has left his beloved G-C/g-G chord structure here, and instead plays in A, with a capo on the 1st fret.

Intro: A D/a A : . . . |-----------------| |-2-2-2-2-2-2-3-2-| |-2-2-2-2-2-2-2-2-| |-2-2-2-2-2-2-4-2-|repeat |-0-0-0-0-0-0-0-0-| |-----------------| A Silent weekend, My baby she gave it to me D7 Silent weekend, A My baby she gave it to me.

E7 She’s opened every heart D7 but at sleep [...] and be part (??)

A and she’s leavin’ me down in misery.

Silent weekend, My baby she took me by the heart.

Silent weekend, My baby she took me by the heart.

She’s [awake and] bad, she’s boastin’ but I know I know she’s ghostin’ An’ she’s tearin’ me all apart.

Silent weekend, Oh Lord, I wish Monday would come.

Silent weekend, Oh Lord, I sure wish Monday would come.

She’s [open] and she’s leavin’, but I hate to sit here grievin’ but I just can’t sit here playin’ dumb.

D Well, I done a whole lotta thinkin’ ’bout a whole lot of cheatin’, A And I, maybe I did please.

541

The Basement Tapes

B7 But I just walloped a lotta pizza after makin’ our peace, Esus4 E Puts ya down on bended knees.

Silent weekend, Man alive, I’m burnin’ up on my brain.

Silent weekend, Man alive, I’m burnin’ up on my brain.

She knows when I’m just teasin’ But it’s not likely in the season To open up a passenger train.

542

sign on the cross

Sign on the Cross Words and music Bob Dylan Recorded during the Basement sessions (summer 1967) Tabbed by Eyolf Østrem Bob’s at the piano, so it’s a black key. Robbie plays some licks high up on the neck, and he uses the following shapes: Eb: x-x-13-12-11-11 A[: x-11-10-8-9-8 Bb7: 6-8-8-7-9-6 Since the greatness of this song lies in Dylan’s vocal and Garth’s organ, and you won’t be able to reproduce that anyway :-), you might as well put on a capo somewhere to get simpler chords, or drop all the b’s and play E, A and B.

Eb Now, I try, oh so awf’ly strong Ab Eb And I just try to be.

Eb And now, oh it’s [an isle]*) Bb7 But it’s free.

Eb (Eb7) Yes, but I know in my head Ab Eb That we’re all so misled, Eb Bb And it’s that ol’ sign on the cross Eb That worries me.

Now, when I was just a bawlin’ lad, I saw what I wanted to be, And it’s all for the sake Of that I should see.

But I was lost on the land As I heard that front door slam, And that old sign on the cross worried me.

Ab

Eb Ab Well, it’s that old sign on the cross, Eb Well, it’s that old key to the kingdom, Ab Well, it’s that old sign on the cross Bb Like you used to be.

Eb Eb7 But, when I hold my head so high Ab Eb As I see my ol’ friends go by,

543

The Basement Tapes

Eb Bb And it’s still that sign on the cross Eb Ab Eb That worries me.

Well, it seems to be the sign on the cross. Ev’ry day, Ab ev’ry night, see the sign on the cross just layin’ up Eb on top of the hill. Yes, we thought it might have disappeared long ago, but I’m here to tell you, friends, Bb that I’m afraid it’s lyin’ there still. Yes, just a Eb little time is all you need, you might say, but I don’t Eb7 Ab know ’bout that any more, because later on you might find the door, you might want to enter it, but, of course, the door might Eb be closed. And I just would like to tell you one time, Bb if I don’t see you again, that the thing is, that the sign Ab Eb on the cross is the thing you might need the most.

Ab Yes, the sign on the cross Eb Is just a sign [of cotton barkin’ too] Ab Well, there is some in any prison Bb And there is some in the penitentiary too.

Eb Oh, when your, when your days are numbered Eb7 And your nights are long, Ab You might think you’re weak Eb But I mean to say you’re strong.

Yes you are, if that sign on the cross, Bb If it begins to worry you.

Eb Ab Well, that’s all right, you just sing a song Eb And all your troubles will pass right on through.

*) The official lyrics have “it’s a gold mine”

544

i’m a fool for you

I’m A Fool For You Performed by Bob Dylan and the Band in the Basement, summer of 1967 Tabbed by Simon Bedford-James Capo 5th fret (sounding key C major)

G Am Bm Am G Am Bm Am [it’s] alright in my head, but I can’t slumber G Am Bm Am G Am Bm and its too high for me to count, I can’t get the number Am G Am Bm I’m a fool for you Am G Am Bm Am yes I’m a fool for you Well, you hear my celebrate, oh its story but they’re all too vain for me, all they want is glory I’m a fool for you I’m a fool for you C G well its lonely in my days how can I believe C D and its all in my heart but I just can’t receive, yeah hear me now It’s crazy down in love ridin’ all around it’s the rain it come down like a me it’s underground I’m a fool for you yeah I’m a fool for you well it’s lonely in my dead but I just don’t believe andt it’s to harden in my pride but I cant recieve, oh hear me now when I come back when I don’t make my return yeah the heart shall rise, everybody shall burn yes, I’m a fool for you I’m a fool for you

545

The Basement Tapes

You Gotta Quit Kicking My Dog Around Words and music Bob Dylan Taped in the Basement (1967) Tabbed (no, not really – transcribed) by Eyolf Østrem Played over a sustained G with a capo on the 2nd fret, and with occasional G-C/g-G embellishments.

Every time I go to town the boys keep kicking my dog around Don’t know why I’m going to town I don’t know why they kick my dog around let me hear you now: (dog, dog, dog dog, dog, dog dog, dog, dog why, why, why why, why, why why, why, why why, why, why) Every time I go to town the boys keep kicking my dog around I don’t know why I’m going to town I don’t know why they kick my dog around (dog, dog, dog) yes, yes, yes (why, why, why) oh-ho (dog, dog, dog) why, why, why (why, why, why) dog around Every time I go and get a meal I can see the boys they’re planning to steal My here dog, he’s waggin’ his tail he helps me pick up the morning mail (bark, bark, bark) Every time I go to town the boys keep kicking my dog around (kick, kick, kick) I don’t know why they kick my dog around I just keep go-oing to town (bark, bark, bark) I don’t know why (why, why, why) I don’t know bark (dog, dog, dog) I don’t know why (bark, bark, bark) bark-a bark, bark (quack, quack, quack) duck, duck, duck (duttuduttudu) pig pig pig (. . . ) fuck fuck fuck (bark bark bark) dig dig dig

546

see you later allen ginsberg

See You Later Allen Ginsberg Played by Bob Dylan and The Band down in the Basement, summer 1967 Tabbed and transcribed by Eyolf Ă˜strem

A . . . Crocogator (see you later crocogator) After a while, smockawhile (see you later, Allen Ginsburg) D See you later alligator (see you later, crocogator) A After a while, crocodile (in a while, Allen Ginsburg) E see you while, crocogator (see you later crocogator) A After a while, crocodile (in a while, crocodile) Allen Later Allen Allen Allen Allen

Ginsburg, later gator (see you later, Allen Ginsburg) later, Allen Ginsburg (see you while, alliquile) Ginsburg, later later (later, later on the Nile) Ginsburg, after a while (see you later if you’re wild) Ginsburg, Allen Ginsburg (see you later, crocogator) Ginsburg, after a while (see you later, crocogator)

Take #2 is a few more verses of the same kind. . .

547

The Basement Tapes

I’m Your Teenage Prayer Words and music Bob Dylan (I presume) Sung (if that’s what it’s called) by Dylan and the Band in the Basement, 1967 Tabbed and transcribed by Eyolf Østrem Capo 2nd fret (sounding key D major) Words in parentheses ( ) are the mostly spoken interjections of the Band (is it Richard Manuel?).

Words in brackets [ ] are Dylan’s spoken words.

I haven’t written out the laughter, because it’s all over the place.

C C Am F G C Take a look at me Baby, I am a teenage prayer When it’s cloudy all the time, C7 all you got to do is say [...]

C C Am F G (Take a look at me Babe) [good, go ahead] (I’m your teenage prayer) C Am Take a look at me Baby (Take a look at me Baby) F G C Am F I’m your teenage prayer (yes I’m your teenage prayer) G C Am Take a look at me Baby (Just take a look over here, at me Baby) F G C Am F G I’m your teenage prayer (I’m your teenage prayer) C Take a look at... When it’s cloudy all the time, C7 all you gotta do is say you’re mine, F D7 I’ll come running anywhere C Am Take a look at me, Baby (just take a look at me baby) F G C F C I’m your teenage prayer (ooh-hooh) Take a look at me, Baby I’m your teenage dream (teenage dream, dream, dream, scheme ...)

Take a look at me, Baby (baby) I’m your teenage dream (yes, and I’m a dream) When it’s raining in your heart, just come to me and start Tell me how I’ll do at [...]

Aah, just come and take a look at me, baby I’m your teenage prayer F Well, all that rain, anytime

548

i’m your teenage prayer

C C7 just come and see my face F Anytime, you just got to read my lines D7 G I won’t give you any disgrace - Oh no Take a look at me, Baby (just take a look over here at me baby) I’m your teenage prayer (take a look at me, baby, I’m a teenage bear ) Come and take a look at me, Baby (just take a lookin’ over here, baby) I’m your teenage prayer (Yes I’m your teenage hair ) When it’s cloudy all the time, all you gotta do is say you’re mine I’ll come running anywhere Take a look at me, Baby (take a look at me) I’m your teenage prayer (prayer, hair, where) C Am [Yes, I’m your teenage prayer, F You might think I’m not somebody, G you might think I’m nowhere.

C Am But I’m here to tell you I’m your teenage prayer.

F G I know what you need, I can feel it in my bones, C Am And I feel it on my throne, You’re my teenage prayer.

F G Any day, any night, you just come to me with your own fright, and I’m your teenage prayer,] Take a look at me baby (just take a look at me baby) I’m your teenage prayer (you know I’m a teenage prayer, baby) Take a look at me baby (take a look over here baby) I’m your teenage prayer (I’m the teenage hair) when it’s cloudy all the time, all you gotta do is say you’re mine, Girl, I’ll come running to ya anywhere, ah yeah, You know I will take a look at me baby I’m your teenage prayer

549

The Basement Tapes

Four Strong Winds Ian Tyson/Warner Brother Music Recorded by Bob Dylan and The Band during The Basement Tapes sessions, 1967 Tabbed by Eyolf Østrem (thanks to Karla in Kansas for correction) Capo 2nd fret (sounding key A major)

G G Am Four strong winds that blow lonely, D7 G Seven seas that run high, C Am D7 All these things that won’t change, Come what may.

G Am But our good times are all gone, D7 G And I’m bound for moving on.

C Am D7 I’ll look for you if you ever come this way.

Think I’ll go out to Alberta, Weather’s good there in the fall.

Got some friends that I can go to working for, Still I wish you’d change your mind If I asked you one more time, But we’ve been through that a hundred times or more.

Four strong winds that blow lonely, Seven seas that run high, All these things that don’t change, Come what may.

But our good times are all gone, And I’m bound for moving on.

I’ll look for you if you ever come this way. [hm hm hm] down the lonely [...] [and the wind that carries ...] [hm hm hm] would be springtime and not much for you to do, So I’ll see you when I pass this way again Four strong winds that blow lonely, Seven seas that run high, All these things that don’t change, Come what may.

But our good times are all gone, And I’m bound for moving on.

I’ll look for you if you ever come this way.

Ian and Sylvia’s last verse, which is a little more clear than Dylan’s. . . : If I get there before the snow flies,

550

four strong winds

And You But Not And

if things are looking good, could meet me if I sent you down the fare. by then it would be winter, too much for you to do the winds sure can blow cold way out there.

551

The Basement Tapes

The French Girl written by Ian Tyson Recorded by Bob Dylan and The Band during The Basement Tapes sessions, 1967 Tabbed by Eyolf Østrem The D chord is frequently played (or embellished) as a Dsus2 chord (200230)

Take #1 Capo 2nd fret: D G She laughed each time she called my name D G Made promises to meet a... [no, let’s, let’s put it down in G]

No capo: Am C D [Three silver rings] ... on slim hands waiting G D/f# C Em D Flash bright in candlelight till Sunday’s early morn Am C D We found her room that rainy morning G D/f# C Em D She took my hand through winding roads and led me home Some red French wine when later wating In her warm hideaway, she smiled and combed her hair We talked of all, we talked of nothing I left with promises to meet; she told me where.

D G She laughed each time I asked her name D G Made promises to meet again C Em D G But her friends down at the French caf Am D Had no English words for me So you may find above the border A girl with silver rings ... [sudden stop]

Take #2 G Am C D Three silver rings on slim hands waiting

552

the french girl

G D/f# C Em D Flash bright in candlelight till Sunday’s early morn Am C D We found her room that rainy morning G D/f# C Em D She took my hand through winding roads and led me home Some red French wine when later wating In her warm hideaway, she smiled and combed her hair We talked of all, we talked of nothing I left with promises to meet; she told me where.

D G She laughed each time I asked her name D G Made promises to meet again C Em D G But her friends down at the French caf Am D Had no English words for me So you A girl You’re She’ll

may find above the border with silver rings, I never knew her name bound to lose, she’s too much for you leave you lost some rainy morn, you won’t be the same

C/g you won’t be the same

G

553

The Basement Tapes

Still in Town Written by Hank Cochran and Harlan Howard Performed by Bob Dylan during the Basement sessions (1967) Tabbed by Eyolf Østrem Capo 4th fret (sounding key E major)

C G To love you still, and have you not C F C Will destroy me in time C G So I’m goin’ away, where nobody knows me C F C And get you off my mind F C I’ve packed my things a dozen times G C C7 But unpack is all I do F C Yes I’m still in town, I’m still around G C And still in love with you F C I made it to the edge of town, G C But turned around F C I made it to the bridge downtown D7*) G But my nerve let me down I try to go, but how can I leave When all roads lead to you (Yes) I’m still in town, still around And still in love with you G . . . | C . F . | C I made it to the edge of town, But turned around I made it to the bridge downtown But my nerve let me down I try to go, but how can I leave When all roads lead to you (Yes) I’m still in town, still around And still in love with you

554

*) Mistakenly played G the first time

The Banks of the Royal Canal Brendan Behan Recorded by Bob Dylan and The Band during The Basement Tapes sessions (1967) Tabbed by Eyolf Østrem Em’ = xx5450 The recording is much more jingle-jangly than this tab can convey. To get that full effect, you’d need a full band of individualists who are not quite certain about the tune. That’s what Dylan had. If you’re less resourceful, you can approach that effect by inserting the D-A-G-D turn (or hints of it) here and there where there’s a long D.

D D G D G D A hungry feeling, came o’er me stealing G A D Em’ G A As the mice were squealing in my prison cell D A G D D A G D And that old triangle, went jingle jangle G D A D All along the banks of the Royal Canal.

To begin the morning, with the water boiling Get out of bed, clean up your cell And the old triangle, went jingle jangle All along the banks of the Royal Canal.

On a fine spring evening the lag lay dreamin’ The sea-gulls beamin’ high above the wall And that old triangle, goes jingle jangle All along the banks of the Royal Canal.

The screw was peepin’ and the lag lay sleapin’ As he lay there weeping for his good gal Sal. And the old triangle, went jingle jangle All along the banks of the Royal Canal.

In the female prison there are seventy women and it’s with all of them where I’d like to dwell And the old triangle, would go jingle jangle All along the banks of the Royal Canal.

Ah, the day was dying and the lag was sighing As I lay cryin’ in my prison cell And that old triangle, went jingle jangle All along the banks of the Royal Canal.

555

18 Desire

Recorded July 1975 — Released January 16 1976

558 561 563 565 567 569 571 574 577

Hurricane Isis Mozambique One More Cup of Coffee (Valley Below) Oh, Sister Joey Romance in Durango Black Diamond Bay Sara

Desire

Hurricane Words and music Bob Dylan and Jacques Levy Released on Desire (1976), and in a live version on Live 1975 (2002) Tabbed by Eyolf Østrem The Live 1975 version is virtually identical to the album version (chord-wise)

|: Am

F

Am

F :|

Am F Pistol shots ring out in the barroom night Am F Enter Patty Valentine from the upper hall.

Am F She sees the bartender in a pool of blood, Am F Cries out, "My God, they killed them all!"

C F Here comes the story of the Hurricane, C F The man the authorities came to blame Dm C For somethin’ that he never done.

Dm C Em Am Put in a prison cell, but one time he could-a been F C G The champion of the world.

Am

F

Am

F

Three bodies lyin’ there does Patty see And another man named Bello, movin’ around mysteriously.

"I didn’t do it," he says, and he throws up his hands "I was only robbin’ the register, I hope you understand.

I saw them leavin’," he says, and he stops "One of us had better call up the cops."

And so Patty calls the cops And they arrive on the scene with their red lights flashin’ In the hot New Jersey night.

Meanwhile, far away in another part of town Rubin Carter and a couple of friends are drivin’ around.

Number one contender for the middleweight crown Had no idea what kinda shit was about to go down When a cop pulled him over to the side of the road Just like the time before and the time before that.

In Paterson that’s just the way things go.

If you’re black you might as well not show up on the street ’Less you wanna draw the heat.

Alfred Bello had a partner and he had a rap for the cops.

Him and Arthur Dexter Bradley were just out prowlin’ around He said, "I saw two men runnin’ out, they looked like middleweights

558

hurricane

They jumped into a white car with out-of-state plates."

And Miss Patty Valentine just nodded her head.

Cop said, "Wait a minute, boys, this one’s not dead" So they took him to the infirmary And though this man could hardly see They told him that he could identify the guilty men.

Four in the mornin’ and they haul Rubin in, Take him to the hospital and they bring him upstairs.

The wounded man looks up through his one dyin’ eye Says, "Wha’d you bring him in here for? He ain’t the guy!"

Yes, here’s the story of the Hurricane, The man the authorities came to blame For somethin’ that he never done.

Put in a prison cell, but one time he could-a been The champion of the world.

Four months later, the ghettos are in flame, Rubin’s in South America, fightin’ for his name While Arthur Dexter Bradley’s still in the robbery game And the cops are puttin’ the screws to him, lookin’ for somebody to blame.

"Remember that murder that happened in a bar?"

"Remember you said you saw the getaway car?"

"You think you’d like to play ball with the law?"

"Think it might-a been that fighter that you saw runnin’ that night?"

"Don’t forget that you are white."

Arthur Dexter Bradley said, "I’m really not sure."

Cops said, "A poor boy like you could use a break We got you for the motel job and we’re talkin’ to your friend Bello Now you don’t wanta have to go back to jail, be a nice fellow.

You’ll be doin’ society a favor.

That sonofabitch is brave and gettin’ braver.

We want to put his ass in stir We want to pin this triple murder on him He ain’t no Gentleman Jim." Rubin could take a man out with just one punch But he never did like to talk about it all that much.

It’s my work, he’d say, and I do it for pay And when it’s over I’d just as soon go on my way Up to some paradise Where the trout streams flow and the air is nice And ride a horse along a trail.

But then they took him to the jailhouse Where they try to turn a man into a mouse.

All of Rubin’s cards were marked in advance The trial was a pig-circus, he never had a chance.

The judge made Rubin’s witnesses drunkards from the slums To the white folks who watched he was a revolutionary bum And to the black folks he was just a crazy nigger.

No one doubted that he pulled the trigger.

And though they could not produce the gun, The D.A. said he was the one who did the deed And the all-white jury agreed.

559

Desire

Rubin Carter was falsely tried.

The crime was murder "one," guess who testified?

Bello and Bradley and they both baldly lied And the newspapers, they all went along for the ride.

How can the life of such a man Be in the palm of some fool’s hand?

To see him obviously framed Couldn’t help but make me feel ashamed to live in a land Where justice is a game.

Now all the criminals in their coats and their ties Are free to drink martinis and watch the sun rise While Rubin sits like Buddha in a ten-foot cell An innocent man in a living hell.

That’s the story of the Hurricane, But it won’t be over till they clear his name And give him back the time he’s done.

Put in a prison cell, but one time he could-a been The champion of the world.

560

isis

Isis

By Bob Dylan and Jacques Levy Released on Desire (1976) and in live versions on Biograph (1985) and Live 1975 (2002) Tabbed by Eyolf Østrem (a tough one) Same chords througout. Replace with G, F, C or any other three chords you like. On Live 1975 it is played in A, either uncapoed with the chords A, G, D, A, or with a capo on the 2nd fret and chords G, F, C, G.

Bb Ab Eb Bb I married Isis on the fifth day of May, But I could not hold on to her very long.

So I cut off my hair and I rode straight away For the wild unknown country where I could not go wrong.

I came to a high place of darkness and light.

The dividing line ran through the center of town.

I hitched up my pony to a post on the right, Went in to a laundry to wash my clothes down.

A man in the corner approached me for a match.

I knew right away he was not ordinary.

He said, "Are you lookin’ for somethin’ easy to catch?"

I said, "I got no money." He said, "That ain’t necessary."

We set out that night for the cold in the North.

I gave him my blanket, he gave me his word.

I said, "Where are we goin’?" He said we’d be back by the fourth.

I said, "That’s the best news that I’ve ever heard."

I was I was As we I was

thinkin’ about turquoise, I was thinkin’ about gold, thinkin’ about diamonds and the world’s biggest necklace. rode through the canyons, through the devilish cold, thinkin’ about Isis, how she thought I was so reckless.

How she told me that one day we would meet up again, And things would be different the next time we wed, If I only could hang on and just be her friend.

I still can’t remember all the best things she said.

We came to the pyramids all embedded in ice.

He said, "There’s a body I’m tryin’ to find.

If I carry it out it’ll bring a good price." ’Twas then that I knew what he had on his mind.

The wind it was howlin’ and the snow was outrageous.

We chopped through the night and we chopped through the dawn.

When he died I was hopin’ that it wasn’t contagious, But I made up my mind that I had to go on.

I broke into the tomb, but the casket was empty.

There was no jewels, no nothin’, I felt I’d been had.

When I saw that my partner was just bein’ friendly, When I took up his offer I must-a been mad.

561

Desire

I picked up his body and I dragged him inside, Threw him down in the hole and I put back the cover.

I said a quick prayer and I felt satisfied.

Then I rode back to find Isis just to tell her I love her.

She was there in the meadow where the creek used to rise.

Blinded by sleep and in need of a bed, I came in from the East with the sun in my eyes.

I cursed her one time then I rode on ahead.

She said, "Where ya She said, "You look She said, "You been "You gonna stay?" I

been?" I said, "No place special." different." I said, "Well, not quite." gone." I said, "That’s only natural." She said, said, "Yeah, I jes might."

Isis, oh, Isis, you mystical child.

What drives me to you is what drives me insane.

I still can remember the way that you smiled On the fifth day of May in the drizzlin’ rain.

562

mozambique

Mozambique

By Bob Dylan and Jacques Levy Released on Desire (1976) Tabbed by Eyolf Østrem Note that the descending riff that goes through the song closely resembles the characteristic passage in Abandoned Love, written at about the same time.

Chords G/d D’

xx0787 xx0577

Intro and recurring riff (only chords noted): G/d

D’

G

D

|--7----5----3----2--|--8----7----0----3--|--7----7----0----2--|--0----0----0----0--|--------------------|--------------------G/d D’ G D I like to spend some time in Mozambique G/d D’ G D The sunny sky is aqua blue G/d D’ G D And all the couples dancing cheek to cheek.

C G D It’s very nice to stay a week or two, C G D And maybe fall in love just me and you.

There’s lots of pretty girls in Mozambique And plenty time for good romance And everybody likes to stop and speak To give the special one you seek a chance Or maybe say hello with just a glance.

Bm F#m Lying next to her by the ocean Em D Reaching out and touching her hand, Bm F#m Whispering your secret emotion G A Magic in a magical land.

And when it’s time for leaving Mozambique To say goodbye to sand and sea, You turn around to take a final peek And you see why it’s so unique to be

563

Desire

Among the lovely people living free Upon the beach of sunny Mozambique.

564

one more cup of coffee (valley below)

One More Cup of Coffee (Valley Below) Words and music Bob Dylan Released on Desire (1976) and live on At Budokan (1978) and on Live 1975 (2002) Tabbed by Eyolf Østrem The Live 1975 version is virtually identical to the album version (chord-wise)

Am Your breath is sweet G Your eyes are like two jewels in the sky.

F Your back is straight, your hair is smooth E On the pillow where you lie.

Am But I don’t sense affection G No gratitude or love F Your loyalty is not to me E But to the stars above.

F One more cup of coffee for the F One more cup of coffee ’fore I Am To the valley below.

E road, E go

Your daddy he’s an outlaw And a wanderer by trade He’ll teach you how to pick and choose And how to throw the blade.

He oversees his kingdom So no stranger does intrude His voice it trembles as he calls out For another plate of food.

One more cup of coffee for the road, One more cup of coffee ’fore I go To the valley below.

Your sister sees the future Like your mama and yourself.

You’ve never learned to read or write There’s no books upon your shelf.

And your pleasure knows no limits Your voice is like a meadowlark But your heart is like an ocean Mysterious and dark.

One more cup of coffee for the road, One more cup of coffee ’fore I go

565

Desire

To the valley below.

Budokan version Gm Your breath is sweet F Your eyes are like two jewels in the sky.

Eb Your back is straight, your hair is smooth D On the pillow where you lie.

Gm But I don’t sense affection F No gratitude or love Eb Your loyalty is not to me D But to the stars above.

Eb One more cup of coffee for the Eb One more cup of coffee ’fore I Gm To the valley below.

D road, D go

During the fall shows the chorus went like this: [backup singers] F One more cup of coffee for the road, One more cup of coffee ’fore I go Gm To the valley below.

Bb [To the valley below.

C To the valley below.

Gm To the valley below.

To the valley below.

Bb To the valley below.

C To the valley below.

Gm To the valley below.

566

oh, sister

Oh, Sister Words and music Bob Dylan and Jacques Levy Released on Desire (1976) and in a live versions on Hard Rain (1976), Budokan (1978) and Live 1975 (2002) Tabbed by Eyolf Østrem The Live 1975 version is basically the same as the album version. The Budokan version is sung over a sustained Gm.

G Oh, G You G Our G And

Bm C (/b Am) G sister, when I come to lie in your arms Em C G should not treat me like a stranger.

Bm C (/b Am) G Father would not like the way that you act Em C G you must realize the danger.

Oh, sister, am I not a brother to you And one deserving of affection?

And is our purpose not the same on this earth, To love and follow His direction?

F C We grew up together G From the cradle to the grave F C We died and were reborn G D (/c-b-a) And then mysteriously saved.

Oh, sister, when I come to knock on your door, Don’t turn away, you’ll create sorrow.

Time is an ocean but it ends at the shore You may not see me tomorrow.

Hard Rain version Probably played with a capo on the 4th fret (sounding key E major) C Em F C Oh, sister, when I come to lie in your arms G Am F C You should not treat me like a stranger.

C Em F C Our Father would not like the way that you act C Am F C And you must realize the danger. . . .

567

Desire

Bb F We grew up together C From the cradle to the grave Bb F We died and were reborn C G And then mysteriously saved.

/g-a-b C

Budokan version The verses are sung over a sustained G minor chord. The only difference is the bridge, which is played: Bb C We grew up together Gm From the cradle to the grave Bb C We died and were reborn Gm And then mysteriously saved.

568

joey

Joey Written by Bob Dylan and Jacques Levy Released on Desire (1976) Tabbed by Eyolf Østrem G

F

C

G

x2

C D C G Born in Red Hook, Brooklyn, in the year of who knows when C D C G Opened up his eyes to the tune of an accordion C D C G Always on the outside of whatever side there was Em G When they asked him why it had to be that way, C /b Am "Well," he answered, "just because."

Larry was the oldest, Joey was next to last.

They called Joe "Crazy," the baby they called "Kid Blast."

Some say they lived off gambling and runnin’ numbers too.

It always seemed they got caught between the mob and the men in blue.

G C Am Joey, Joey, G Em C King of the streets, child of clay.

G C Am Joey, Joey, G F C Am What made them want to come and blow you away?

G

F

C

G

x2

There was talk they killed their rivals, but the truth was far from that No one ever knew for sure where they were really at.

When they tried to strangle Larry, Joey almost hit the roof.

He went out that night to seek revenge, thinkin’ he was bulletproof.

The war broke out at the break of dawn, it emptied out the streets Joey and his brothers suffered terrible defeats Till they ventured out behind the lines and took five prisoners.

They stashed them away in a basement, called them amateurs.

The hostages were tremblin’ when they heard a man exclaim, "Let’s blow this place to kingdom come, let Con Edison take the blame."

But Joey stepped up, he raised his hand, said, "We’re not those kind of men.

It’s peace and quiet that we need to go back to work again."

Joey, Joey, King of the streets, child of clay.

Joey, Joey, What made them want to come and blow you away?

The police department hounded him, they called him Mr. Smith

569

Desire

They got him on conspiracy, they were never sure who with.

"What time is it?" said the judge to Joey when they met "Five to ten," said Joey. The judge says, "That’s exactly what you get."

He did ten years in Attica, reading Nietzsche and Wilhelm Reich They threw him in the hole one time for tryin’ to stop a strike.

His closest friends were black men ’cause they seemed to understand What it’s like to be in society with a shackle on your hand.

When they let him out in ’71 he’d lost a little weight But he dressed like Jimmy Cagney and I swear he did look great.

He tried to find the way back into the life he left behind To the boss he said, "I have returned and now I want what’s mine."

Joey, Joey, King of the streets, child of clay.

Joey, Joey, Why did they have to come and blow you away?

It was true that in his later years he would not carry "I’m around too many children," he’d say, "they should Yet he walked right into the clubhouse of his lifelong Emptied out the register, said, "Tell ’em it was Crazy

a gun never know of one." deadly foe, Joe."

One day they blew him down in a clam bar in New York He could see it comin’ through the door as he lifted up his fork.

He pushed the table over to protect his family Then he staggered out into the streets of Little Italy.

Joey, Joey, King of the streets, child of clay.

Joey, Joey, What made them want to come and blow you away?

Sister Jacqueline and Carmela and mother Mary all did weep.

I heard his best friend Frankie say, "He ain’t dead, he’s just asleep."

Then I saw the old man’s limousine head back towards the grave I guess he had to say one last goodbye to the son that he could not save.

The sun turned cold over President Street and the town of Brooklyn mourned They said a mass in the old church near the house where he was born.

And someday if God’s in heaven overlookin’ His preserve I know the men that shot him down will get what they deserve.

Joey, Joey, King of the streets, child of clay.

Joey, Joey, What made them want to come and blow you away?

570

romance in durango

Romance in Durango Words and music Bob Dylan (and Jaques Levy) Released on Desire (1976)and in live versions on Biograph (1985) and Live 1975 (2002) Tabbed by Eyolf Østrem

D D A Hot chili peppers in the blistering sun G D Dust on my face and my cape, A Me and Magdalena on the run G D I think this time we shall escape.

Sold my guitar to the baker’s son For a few crumbs and a place to hide, But I can get another one And I’ll play for Magdalena as we ride.

A No llores, mi querida Dios nos vigila G D Soon the horse will take us to Durango.

A Agarrame, mi vida Soon the desert will be gone G D Soon you will be dancing the fandango.

Past the Aztec ruins and the ghosts of our people Hoofbeats like castanets on stone.

At night I dream of bells in the village steeple Then I see the bloody face of Ramon.

Was it me that shot him down in the cantina Was it my hand that held the gun?

Come, let us fly, my Magdalena The dogs are barking and what’s done is done.

No llores, mi querida Dios nos vigila Soon the horse will take us to Durango.

Agarrame, mi vida Soon the desert will be gone Soon you will be dancing the fandango.

At the corrida we’ll sit in the shade

571

Desire

And watch the young torero stand alone.

We’ll drink tequila where our grandfathers stayed When they rode with Villa into Torre6n.

Then the padre will recite the prayers of old In the little church this side of town.

I will wear new boots and an earring of gold You’ll shine with diamonds in your wedding gown.

The way is long but the end is near Already the fiesta has begun.

The face of God will appear With His serpent eyes of obsidian.

No ilores, mi querida Dios nos vigila Soon the horse will take us to Durango.

Agarrame, mi vida Soon the desert will be gone Soon you will be dancing the fandango.

Was that the thunder that I heard?

My head is vibrating, I feel a sharp pain.

Come sit by me, don’t say a word Oh, can it be that I am slain?

Quick, Magdalena, take my gun Look up in the hills, that flash of light.

Aim well my little one We may not make it through the night.

No llores, mi querida Dios nos vigila Soon the horse will take us to Durango.

Agarrame, mi vida Soon the desert will be gone Soon you will be dancing the fandango.

Rolling Thunder Revue version < |: C

< .

.

F/c

:|

C G Hot chili peppers in the blistering sun F C Dust on my face and my cape, G Me and Magdalena on the run F C I think this time we shall escape. . . .

G No llores, mi querida

572

romance in durango

Dios nos vigila F C Soon the horse will take us to Durango.

G Agarrame, mi vida Soon the desert will be gone F C Soon you will be dancing the fandango.

573

Desire

Black Diamond Bay Words and Music Bob Dylan and Jacques Levy Released on Desire (1976) Tabbed by Eyolf Østrem “C/b” (or just /b when following a C) is shorthand for x20010 in the descending bass figure: C C/b Am G

x32010 x20010 x02210 320003

It is not obvious which chord ends the lines 7 and 9. I’ve chosen the C/b, since it matches both the b of the vocal and the c of the violin, but both a plain C, G or even D7 are playable.

Em Up on the white veranda C G She wears a necktie and a Panama hat.

Em Her passport shows a face C From another time and place G She looks nothin’ like that.

Bm C D C And all the remnants of her recent past C/b G Are scattered in the wild wind.

Bm She walks across the marble floor C D C C/b Where a voice from the gambling room G is callin’ her to come on in.

Bm Am She smiles, walks the other way C /b Am G D(/f#) C As the last ship sails and the moon fades away C /b Am G From Black Diamond Bay. As the mornin’ light breaks open, the Greek comes down And he asks for a rope and a pen that will write.

"Pardon, monsieur," the desk clerk says, Carefully removes his fez, "Am I hearin’ you right?"

And as the yellow fog is liftin’ The Greek is quickly headin’ for the second floor.

She passes him on the spiral staircase Thinkin’ he’s the Soviet Ambassador, She starts to speak, but he walks away As the storm clouds rise and the palm branches sway On Black Diamond Bay.

574

black diamond bay

A soldier sits beneath the fan Doin’ business with a tiny man who sells him a ring.

Lightning strikes, the lights blow out.

The desk clerk wakes and begins to shout, "Can you see anything?"

Then the Greek appears on the second floor In his bare feet with a rope around his neck, While a loser in the gambling room lights up a candle, Says, "Open up another deck."

But the dealer says, "Attendez-vous, s’il vous plait,” As the rain beats down and the cranes fly away From Black Diamond Bay. The desk clerk heard the woman laugh As he looked around the aftermath and the soldier got tough.

He tried to grab the woman’s hand, Said, "Here’s a ring, it cost a grand."

She said, "That ain’t enough."

Then she ran upstairs to pack her bags While a horse-drawn taxi waited at the curb.

She passed the door that the Greek had locked, Where a handwritten sign read, "Do Not Disturb."

She knocked upon it anyway As the sun went down and the music did play On Black Diamond Bay. "I’ve got to talk to someone quick!"

But the Greek said, "Go away," and he kicked the chair to the floor.

He hung there from the chandelier.

She cried, "Help, there’s danger near Please open up the door!"

Then the volcano erupted And the lava flowed down from the mountain high above.

The soldier and the tiny man were crouched in the corner Thinking of forbidden love.

But the desk clerk said, "It happens every day," As the stars fell down and the fields burned away On Black Diamond Bay. As the island slowly sank The loser finally broke the bank in the gambling room.

The dealer said, "It’s too late now.

You can take your money, but I don’t know how You’ll spend it in the tomb."

The tiny man bit the soldier’s ear As the floor caved in and the boiler in the basement blew, While she’s out on the balcony, where a stranger tells her, "My darling, je vous aime beaucoup."

She sheds a tear and then begins to pray As the fire burns on and the smoke drifts away From Black Diamond Bay. I was sittin’ home alone one night in L.A., Watchin’ old Cronkite on the seven o’clock news.

It seems there was an earthquake that Left nothin’ but a Panama hat

575

Desire

And a pair of old Greek shoes.

Didn’t seem like much was happenin’, So I turned it off and went to grab another beer.

Seems like every time you turn around There’s another hard-luck story that you’re gonna hear And there’s really nothin’ anyone can say And I never did plan to go anyway To Black Diamond Bay.

576

sara

Sara Words and music Bob Dylan Released on Desire (1976), and in a live version on Live 1975 (2002) Tabbed by Eyolf Østrem The Am in the chorus (second “Sara”) sounds like a C on the album because of the bass, but Am is definitely what he used to play in concert, and it sounds better too.

The Live 1975 version is virtually identical to the album version, except for some lyric changes (see below).

Em Am I laid on a dune, I looked at the sky, D Em When the children were babies and played on the beach.

Em Am You came up behind me, I saw you go by, D Em You were always so close and still within reach.

G Bm Am Sara, Sara, D C Em Whatever made you want to change your mind?

G Bm Am Sara, Sara, D C Em So easy to look at, so hard to define.

I can still see them playin’ with their pails in the sand, They run to the water their buckets to fill.

I can still see the shells fallin’ out of their hands As they follow each other back up the hill.

Sara, Sara, Sweet virgin angel, sweet love of my life, Sara, Sara, Radiant jewel, mystical wife.

Sleepin’ in the woods by a fire in the night, Drinkin’ white rum in a Portugal bar, Them playin’ leapfrog and hearin’ about Snow White, You in the marketplace in Savanna-la-Mar. *) Sara, Sara, It’s all so clear, I could never forget, Sara, Sara, Lovin’ you is the one thing I’ll never regret.

I can still hear the sounds of those Methodist bells, I’d taken the cure and had just gotten through, Stayin’ up for days in the Chelsea Hotel, Writin’ "Sad-Eyed Lady of the Lowlands" for you.

Sara, Sara, Wherever we travel we’re never apart.

577

Desire

Sara, oh Sara, Beautiful lady, so dear to my heart.

How did I meet you? I don’t know.

A messenger sent me in a tropical storm.

You were there in the winter, moonlight on the snow And on Lily Pond Lane when the weather was warm. **) Sara, oh Sara, Scorpio Sphinx in a calico dress, Sara, Sara, You must forgive me my unworthiness.

Now And You You

the beach is deserted except for some kelp a piece of an old ship that lies on the shore. always responded when I needed your help, gave me a map and a key to your door.

Sara, oh Sara, Glamorous nymph with an arrow and bow, Sara, oh Sara, Don’t ever leave me, don’t ever go.

Lyric changes in the Live 1975 version: *) Sleeping in the woods by a fire in the night where you fought for my soul and went up against the odds I was too young to know you were doing it right and you did it with strength that belonged to the gods.

The order of the two following refrains is reversed. **) This verse is left out from the Live 1975 version

578

19 Hard Rain

Recorded live at the shows in Fort Worth, May 16 and Fort Collins, May 23. — Released September 1, 1976

,!161 ,!106 ,!238 ,!567 ,!296 ,!468 ,!447 ,!293 ,!450

Maggie’s Farm One Too Many Mornings Stuck Inside of Mobile with the Memphis Blues Again Oh, Sister Lay, Lady, Lay Shelter from the Storm You’re a Big Girl Now I Threw It All Away Idiot Wind

20

Street Legal Recorded April 1978 — Released June 15, 1978

582 584 585 587 589 590 591 593 595

Changing of the Guards New Pony No Time to Think Baby, Stop Crying Is Your Love in Vain?

Señor (Tales Of Yankee Power) True Love Tends to Forget We Better Talk This Over Where Are You Tonight? (Journey Through Dark Heat)

Street Legal

Changing of the Guards Words and music Bob Dylan Released on Street Legal (1978) Tabbed by Eyolf Østrem Capo 1st fret (sounding key A[ major). During the 1978 tour it was usually (always?) played in G.

G D Em Sixteen years, Am C G D Em Sixteen banners united over the fields C D Where the good shepherd grieves.

Em Am C G D Desperate men, desperate women divided, Em C D G Spreading their wings ’neath the falling leaves.

Fortune calls.

I stepped forth from the shadows, to the marketplace, Merchants and thieves, hungry for power, my last deal gone down.

She’s smelling sweet like the meadows where she was born, On midsummer’s eve, near the tower.

G . D . C . . . |G . D . C . . . | G . D . C . . D |G . Gsus4 . G .

The cold-blooded moon.

The captain waits above the celebration Sending his thoughts to a beloved maid Whose ebony face is beyond communication.

The captain is down but still believing that his love will be repaid.

They shaved her head.

She was torn between Jupiter and Apollo.

A messenger arrived with a black nightingale.

I seen her on the stairs and I couldn’t help but follow, Follow her down past the fountain where they lifted her veil.

I stumbled to my feet.

I rode past destruction in the ditches With the stitches still mending ’neath a heart-shaped tattoo.

Renegade priests and treacherous young witches Were handing out the flowers that I’d given to you.

The palace of mirrors Where dog soldiers are reflected, The endless road and the wailing of chimes, The empty rooms where her memory is protected, Where the angels’ voices whisper to the souls of previous times.

She wakes him up Forty-eight hours later, the sun is breaking Near broken chains, mountain laurel and rolling rocks.

582

changing of the guards

She’s begging to know what measures he now will be taking.

He’s pulling her down and she’s clutching on to his long golden locks.

Gentlemen, he said, I don’t need your organization, I’ve shined your shoes, I’ve moved your mountains and marked your cards But Eden is burning, either brace yourself for elimination Or else your hearts must have the courage for the changing of the guards.

Peace will come With tranquility and splendor on the wheels of fire But will bring us no reward when her false idols fall And cruel death surrenders with its pale ghost retreating Between the King and the Queen of Swords.

583

Street Legal

New Pony Words and music Bob Dylan Released on Street Legal (1978) Tabbed by Eyolf Østrem Basic riff: : . : . : . : . : . |---------|----------------------------------| |------(0)|------------------------------(0)-| |-------2-|-let ring----------------------2--| |-------2-|-------------------------------2--|repeat |-3b-p0---|-------------------------3b-p0----| |---------|----------------------------------| A A /f# /g A I had a pony, her name was Lucifer /f# /g A I had a pony, her name was Lucifer E She broke her leg and needed shooting I swear it hurt me more A than it could have hurted her Sometimes I wonder what’s going on with Miss X Sometimes I wonder what’s going on with Miss X she got such a sweet disposition I never know what the poor girl’s gonna do to me next I got a new pony, Well, I got a new She got great big long black shaggy

she knows how to fox-trot, lope and pace pony, she knows how to fox-trot, lope and pace hind legs, hair hanging in her face

Everybody says you’re usin’ voodoo, I’ve seen your feet walk by themselves Oh well, everybody says you’re usin’ voodoo, I’ve seen your feet walk by themselves Oh, baby, but that god that you been prayin’ to gonna give ya back what you’re wishin’ on someone else Come over here pony, I, I wanna climb up one time on you Well, Come over here pony, I wanna climb up one time on you Well, you’re so nasty and you’re so bad But I swear I love you, yes I do

Additional 4th verse in the official lyrics, but not sung on the album: Well now, it was early in the mornin’, I seen your shadow in the door It was early in the mornin’, I seen your shadow in the door Now, I don’t have to ask nobody I know what you come here for.

584

no time to think

No Time to Think Words and music Bob Dylan Released on Street Legal (1978) Tabbed by Eyolf Østrem Capo 1st fret (Original key B[ major) The “E/A’‘ chord (x02100) might as well be a mistake by someone in the muddy “Street Legal’’ sound – but it sounds good. . .

D A E A In death, you face life with a child and a wife E/A A D E Who sleep-walks through your dreams into walls.

D A E A You’re a soldier of mercy, you’re cold and you curse, E A D E "He who cannot be trusted must fall."

D/A A A/E E D/A A A/E E Loneliness, tenderness, high society, notoriety.

D A E A You fight for the throne and you travel alone D E Unknown as you slowly sink A Asus4 A And there’s no time to think.

In the Federal City you been blown and shown pity, In secret, for pieces of change. The empress attracts you but oppression distracts you And it makes you feel violent and strange.

Memory, ecstasy, tyranny, hypocrisy Betrayed by a kiss on a cool night of bliss In the valley of the missing link And you have no time to think.

Judges will haunt you, the country priestess will want you Her worst is better than best.

I’ve seen all these decoys through a set of deep turquoise eyes And I feel so depressed.

China doll, alcohol, duality, mortality.

Mercury rules you and destiny fools you Like the plague, with a dangerous wink And there’s no time to think.

Your conscience betrayed you when some tyrant waylaid you Where the lion lies down with the lamb.

I’d have paid off the traitor and killed him much later But that’s just the way that I am.

Paradise, sacrifice, mortality, reality.

But the magician is quicker and his game

585

Street Legal

Is much thicker than blood and blacker than ink And there’s no time to think.

Anger and jealousy’s all that he sells us, when ’re under his thumb.

Madmen oppose him but your kindness throws him To survive if you play deaf and dumb.

Equality, liberty, humility, simplicity.

You glance through the mirror and there’s eyes staring clear At the back of your head as you drink And there’s no time to think.

Warlords of sorrow and queens of tomorrow Will offer their heads for a prayer.

You can’t find no salvation, you have no expectations Anytime, anyplace, anywhere.

Mercury, gravity, nobility, humility.

You know you can’t keep her and the water gets deeper That is leading you onto the brink But there’s no time to think.

You’ve murdered your vanity, buried your sanity For pleasure you must now resist.

Lovers obey you but they cannot sway you They’re not even sure you exist.

Socialism, hypnotism, patriotism, materialism.

Fools making laws for the breaking of jaws And the sound of the keys as they clink But there’s no time to think.

The bridge that you travel on goes to the Babylon girl With the rose in her hair.

Starlight in the East and you’re finally released You’re stranded but with nothing to share.

Loyalty, unity, epitome, rigidity.

You turn around for one real last glimpse of Camille ’Neath the moon shinin’ bloody and pink And there’s no time to think.

Bullets can harm you and death can disarm you But no, you will not be deceived.

Stripped of all virtue as you crawl through the dirt, You can give but you cannot receive.

No time to choose when the truth must die, No time to lose or say goodbye, No time to prepare for the victim that’s there, No time to suffer or blink And no time to think.

586

baby, stop crying

Baby, Stop Crying Words and music Bob Dylan Released on Street Legal (1978) Tabbed by Eyolf Østrem Capo 1st fret (sounding key B[ major) Live versions are rather different. Something of that kind will be upcoming soon.

Intro (same as the end of the chorus): D/e C#m/e D/e E A | . . . x7 | . . . |-2-----2-4-------||-2-----2-4-------|-0--------|---3-----5-------||---3-----5-------|-2--------|-----2--(6)------||-----2---4-------|-2--------|-----------------||-----------------|-2--------|-----------------||-----------------|-0--------|-0---------------||-0-------0-------|----------A C#m D You been down to the bottom with a bad man, babe, E(11) A C#m . D . E(11) .

But you’re back where you belong.

A C#m Go get me my pistol, babe, D E(11) A C#m . D . E(11) Honey, I can’t tell right from wrong.

A C#m D Baby, please stop crying, stop crying, stop crying E A C#m D Baby, please stop crying, stop crying, stop crying E Baby, please stop crying.

D/e C#m/e D/e C#m/e D/e C#m/e D/e C#m/e You know, I know, the sun will always shine D/e C#m/e D/e C#m/e D/e C#m/e D/e E A So baby, please stop crying ’cause it’s tearing up my mind.

Go down to the river, babe, Honey, I will meet you there.

Go down to the river, babe, Honey, I will pay your fare.

Baby, please stop crying, stop crying, stop crying Baby, please stop crying, stop crying, stop crying Baby, please stop crying.

You know, I know, the sun will always shine So baby, please stop crying ’cause it’s tearing up my mind.

If you’re looking for assistance, babe, Or if you just want some company Or if you just want a friend you can talk to, Honey, come and see about me.

587

Street Legal

Baby, please stop crying, stop crying, stop crying Baby, please stop crying, stop crying, stop crying Baby, please stop crying.

You know, I know, the sun will always shine So baby, please stop crying ’cause it’s tearing up my mind.

You been hurt so many times And I know what you’re thinking of.

Well, I don’t have to be no doctor, babe, To see that you’re madly in love.

Baby, please stop crying, stop crying, stop crying Baby, please stop crying, stop crying, stop crying Baby, please stop crying.

You know, I know, the sun will always shine So baby, please stop crying ’cause it’s tearing up my mind.

588

is your love in vain?

Is Your Love in Vain?

Words and music Bob Dylan Released on Street Legal (1978) and in a live version on At Budokan (1978) Tabbed by Eyolf Østrem Capo 2nd fret (sounding key D major) G6 = 320000 One verse instrumental intro C /b Am C/g Do you love me, F G Gsus4 G or are you just extending goodwill?

C /b Am C/g Do you need me half as bad as you say, F G C/g G or are you just feeling guilt?

Am G(6) F C I’ve been burned before and I know the score F G Gsus4 G So you won’t hear me complain.

C /b Am C/g Will I be able to count on you F G C Csus4 C Or is your love in vain?

Are you so fast that you cannot see that I must have solitude?

When I am in the darkness, why do you intrude?

Do you know my world, do you know my kind Or must I explain?

Will you let me be myself Or is your love in vain?

F G C /b Am Well I’ve been to the mountain and I’ve been in the wind, F G C I’ve been in and out of happiness.

F G C /b Am I have dined with kings, I’ve been offered wings F G And I’ve never been too impressed.

All right, I’ll take a chance, I will fall in love with you If I’m a fool you can have the night, you can have the morning too.

Can you cook and sew, make flowers grow, Do you understand my pain?

Are you willing to risk it all Or is your love in vain?

589

Street Legal

Señor (Tales Of Yankee Power) Words and music Bob Dylan Released on Street Legal (1978) and on Biograph (1985) Tabbed by Eyolf Østrem

Am Am Em F C Señor, señor, can you tell me where we’re headin’?

C /b Am Lincoln County Road or Armageddon?

Am G F(maj7) Seems like I been down this way before.

Dm Am Is there any truth in that, señor?

Señor, señor, do you know where she is hidin’?

How long are we gonna be ridin’?

How long must I keep my eyes glued to the door?

Will there be any comfort there, señor?

C Em There’s a wicked wind still blowin’ on that upper deck, F Am There’s an iron cross still hanging down from around her neck.

C Em There’s a marchin’ band still playin’ in that vacant lot F Am Where she held me in her arms one time and said, "Forget me not."

Señor, señor, I can see that painted wagon, smell the tail of the dragon.

Can’t stand the suspense anymore.

Can you tell me who to contact here, señor?

Well, the last thing I remember before I stripped and kneeled Was that trainload of fools bogged down in a magnetic field.

A gypsy with a broken flag and a flashing ring He said: "Son, this ain’t a dream no more, it’s the real thing."

Señor, señor, you know their hearts are as hard as leather.

Well, give me a minute, let me get it together.

I just gotta pick myself up off the floor.

I’m ready when you are, señor.

Señor, señor, let’s overturn these tables, Disconnect these cables.

This place don’t make sense to me no more.

Can you tell me what we’re waiting for, señor?

590

true love tends to forget

True Love Tends to Forget Words and music Bob Dylan Released on Street Legal (1978) Tabbed by Eyolf Østrem E11 = 022232 |: A . D/a .

:|

A C#m Bm I’m getting weary looking in my baby’s eyes A C#m Bm When she’s near me she’s so hard to recognize.

C#m Bm A D But I finally realize there’s no room for regret, A D A D A D E11 A True love, true love, true love tends to forget.

E

Hold me, baby be near, You told me that you’d be sincere.

Every day of the year’s like playin’ Russian roulette, True love, true love, true love tends to forget.

G A I was lyin’ down in the reeds without any oxygen G D I saw you in the wilderness among the men.

Dm A Saw you drift into infinity and come back again Esus4 E All you got to do is wait and I’ll tell you when.

*)

A D AD A (or rather: D/a-A D/a-A) : . . . *)|-----------------| |---------3-23-22-| |---------2-22-22-| |---------4-24-22-| |---------0-------| |-----------------| oxygen You’re a tearjerker, baby, but I’m under your spell, You’re a hard worker, baby, and I know you well.

But this weekend in hell is making me sweat, True love, true love, true love tends to forget, True love, true love, true love tends to forget.

I was lyin’ down in the reeds without any oxygen I saw you in the wilderness among the men.

Saw you drift into infinity and come back again All you got to do is wait and I’ll tell you when.

You belong to me, baby, without any doubt, Don’t forsake me, baby, don’t sell me out.

Don’t keep me knockin’ about from Mexico to Tibet,

591

Street Legal

True love, true love, true love tends to forget.

592

we better talk this over

We Better Talk This Over Words and music Bob Dylan Released on Street Legal (1978) Tabbed by Eyolf Østrem Dsus2 = x00230 Intro: 1st guitar riff: Dsus2-D D-Dsus4 : . . . |-0h2-------2h3---| |-3---------------| |-2---------------|repeat |-0---------------| |-----------------| |-----------------|

2nd guitar riff: : . . . |-----------------|--|-----------------|--|-----------------|--|-------------30--|-0- repeat |-----------03--3-|--|-----------------|--D G D I think we better talk this over D G D Maybe when we both get sober G D G D You’ll understand I’m only a man G D Doin’ the best that I can.

This situation can only get rougher.

Why should we needlessly suffer?

Let’s call it a day, go our own different ways Before we decay.

A D G D You don’t have to be afraid of looking into my face, A D G A We’ve done nothing to each other time will not erase.

I feel displaced, I got a low-down feeling You been two-faced, you been double-dealing.

I took a chance, got caught in the trance Of a downhill dance.

Oh, child, why you wanna hurt me?

593

Street Legal

I’m exiled, you can’t convert me.

I’m lost in the haze of your delicate ways With both eyes glazed.

You don’t have to yearn for love, you don’t have to be alone, Somewheres in this universe there’s a place that you can call home.

I guess I’ll be leaving tomorrow If I have to beg, steal or borrow.

It’d be great to cross paths in a day and a half Look at each other and laugh.

But I don’t think it’s liable to happen Like the sound of one hand clappin’.

The vows that we kept are now broken and swept ’Neath the bed where we slept.

Don’t think of me and fantasize on what we’ve never had, Be grateful for what we’ve shared together and be glad.

[Instrumental] Why should we go on watching each other through a telescope?

Eventually we’ll hang ourselves on all this tangled rope.

Oh, babe, time for a new transition I wish I was a magician.

I would wave a wand and tie back the bond That we’ve both gone beyond.

594

where are you tonight? (journey through dark heat)

Where Are You Tonight? (Journey Through Dark Heat) Words and music Bob Dylan Released on Street Legal (1978) Tabbed by Eyolf Østrem

|:C . . .F|F . . . :| C F There’s a long-distance train rolling through the rain, C F tears on the letter I write.

C F There’s a woman I long to touch and I’m missing her so much C F but she’s drifting like a satellite.

C F There’s a neon light ablaze in this green smoky haze, C F laughter down on Elizabeth Street C F And a lonesome bell tone in that valley of stone C F where she bathed in a stream of pure heat.

Her father would emphasize you got to be more than street-wise but he practiced what he preached from the heart.

A full-blooded Cherokee, he predicted to me the time and the place that we’d part.

G C F There’s a baby in the arms of a woman in a rage G C F And a longtime golden-haired stripper onstage F Em Dm C And she winds back the clock and she turns back the page Dm G Of a book that nobody can write.

C Oh, where are you tonight?

The truth was obscure, too profound and too pure, to live it you have to explode.

In that last hour of need, we entirely agreed, sacrifice was the code of the road.

I left town at dawn, with Marcel and St. John, strong men belittled by doubt.

I couldn’t tell her what my private thoughts were but she had some way of finding them out.

He took dead-center aim but he missed just the same, she was waiting, putting flowers on the shelf.

She could feel my despair as I climbed up her hair and discovered her invisible self.

There’s a lion in the road, there’s a demon escaped,

595

Street Legal

There’s a million dreams gone, there’s a landscape being raped, As her beauty fades and I watch her undrape, I won’t, but then again, maybe I might.

Oh, if I could just find you tonight.

I fought with my twin, that enemy within, ’til both of us fell by the way.

Horseplay and disease is killing me by degrees while the law looks the other way.

Your partners in crime hit me up for nickels and dimes, the guy you were lovin’ couldn’t stay clean.

It felt outa place, my foot in his face, but he should-a stayed where his money was green.

I bit into the root of forbidden fruit with the juice running down my leg.

Then I dealt with your boss, who’d never known about loss and who always was too proud to beg.

There’s a white diamond gloom on the dark side of this room and a pathway that leads up to the stars.

If you don’t believe there’s a price for this sweet paradise, remind me to show you the scars.

There’s a new day at dawn and I’ve finally arrived.

If I’m there in the morning, baby, you’ll know I’ve survived.

I can’t believe it, I can’t believe I’m alive, But without you it just doesn’t seem right.

Oh, where are you tonight?

596

21

At Budokan

Recorded live at Nippon Budokan, Tokyo February 28 & March 1, 1978 — Released April 23 1979

,!177 ,!468 ,!166 ,!208 ,!71 ,!161 ,!565 ,!194 ,!860 ,!589 ,!400 ,!53 ,!247 ,!567 ,!440 ,!276 ,!234 ,!127 ,!374 ,!185 ,!410 ,!94

Mr. Tambourine Man Shelter from the Storm Love Minus Zero/No Limit Ballad of a Thin Man Don’t Think Twice, It’s All Right Maggie’s Farm One More Cup of Coffee (Valley Below) Like a Rolling Stone I Shall Be Released Is Your Love in Vain?

Going, Going, Gone Blowin’ in the Wind Just Like a Woman Oh, Sister Simple Twist of Fate All Along the Watchtower I Want You All I Really Want to Do Knockin’ on Heaven’s Door It’s Alright, Ma (I’m Only Bleeding) Forever Young The Times They Are A-Changin’

22

Slow Train Coming Recorded April–May 1979 — Released: August 18, 1979

600 604 606 608 610 614 616 617 619

Gotta Serve Somebody Precious Angel I Believe in You Slow Train Gonna Change My Way of Thinking Do Right to Me Baby When You Gonna Wake Up? Man Gave Names to All the Animals When He Returns

Slow Train Coming

Gotta Serve Somebody Words and music Bob Dylan Released on Slow Train Coming (1979) and on Biograph (1985). Played in a new arrangment during the summer 2001 tour Tabbed (a tremendous achievement, indeed. . . ) by Eyolf Østrem The A should be treated “bluesily”, which means that Am sounds just as good.

A You may be an ambassador to England or France, You may like to gamble, you might like to dance, You may be the heavyweight champion of the world, You may be a socialite with a long string of pearls D But you’re gonna have to serve somebody, yes indeed A You’re gonna have to serve somebody, E D7 Well, it may be the devil or it may be the Lord A But you’re gonna have to serve somebody.

You might be a rock ’n’ roll addict prancing on the stage, You might have drugs at your command, women in a cage, You may be a business man or some high degree thief, They may call you Doctor or they may call you Chief You You You You

may may may may

be be be be

You You You You

may be a construction worker working on a home, may be living in a mansion or you might live in a dome, might own guns and you might even own tanks, might be somebody’s landlord, you might even own banks

You You You You

may may may may

be be be be

a state trooper, you might be a young Turk, the head of some big TV network, rich or poor, you may be blind or lame, living in another country under another name

a preacher with your spiritual pride, a city councilman taking bribes on the side, workin’ in a barbershop, you may know how to cut hair, somebody’s mistress, may be somebody’s heir

Might like to wear cotton, might like to wear silk, Might like to drink whiskey, might like to drink milk, You might like to eat caviar, you might like to eat bread, You may be sleeping on the floor, sleeping in a king-sized bed You You You You

600

may may may may

call call call call

me me me me

Terry, you may call me Bobby, you may call me R. J., you may call me anything but no matter

Timmy, Zimmy, Ray, what you say

gotta serve somebody

Stirling Castle, July 13 2001 For the summer tour (it was played like this at least in Gothenburg some weeks before Stirling) he changed the arrangment of the chorus, dragging it out, much in the same way as he changed Trying to get to heaven in 2000, thus slowing down the harmonic rhythm: instead of beginning the “It might be the devil. . . ” bit on the dominant (i.e. the chord on the fifth step of the scale) and quickly descending to the key note, he instead builds up an ascent, that never reaches higher than the fourth step (the subdominant). Quite nice, actually.

The lyrics keep changing all the time, of course; the following is just a suggestion. I may gather together some other lyric variations from throughout the years one of these days.

G Might be an ambassador to England or France, Might like to gamble, might like to dance, Might be the heavyweight champion of the world, May be a socialite with a long string of pearls C You gotta serve somebody G serve somebody, G Might be the devil G7/b might be the Lord C Yeeeah F But you G gotta serve somebody.

Might be a city councilman taking bribes on the side, somebody’s husband, somebody’s bride May be rich or poor, may be blind or lame Living in another country, under another name You gotta serve somebody serve somebody Might be the devil Might be the lord But you, yeah, but you, but you gotta serve somebody.

Might own guns, might even own tanks Might believe in [luxury or] somebody’s bank Maybe sleeping on the highway, sleeping in the road Walking down the highbrow, or you’re carrying a heavy load Might be [...], walkin’ down the floor Might be headin’ for the moon, walking out the door.

601

Slow Train Coming

Maybe living in a [dream], sleepin’ in a feather bed Might feel like you’re living, might even feel like a living dead.

Other lyric variations Submitted by Heinrich Küttler Knoxville, February 5, 1980, Los Angeles (22nd Grammy Award), February 22, 1980, Toronto, April 20, 1980: ... might have drugs in your pocket, ...

May like to drink whiskey, might like to blow smoke, You may have money-power or you may be broke, You may think you’re living, you may think you’re dead, Maybe sleeping on nails, may be sleeping in a feather bed New Orleans, November 10, 1981: You might be laid upon [tie may?], sleeping on the train Maybe [hold it next] just all [but in] the rain You may be rich or poor, you may be blind or lame, May be living in another country under another name Maybe Maybe Maybe Maybe

you’re a [huckster], maybe hold [far way?] [seeping on dead man], sleeping every day think you’re living, maybe even think you’re dead, sleeping on nails, sleeping in a feather bed

Houston, November 12, 1981: (french introduction) You might be rocking on [nails bann], sleeping in the wind, Maybe you’re upon the [grands stand], tapping on good gin, You may be rich or poor, you may be blind or lame, You may living in another country under another name Still gonna serve somebody Yes indeed, one of these [days], serve somebody, It might be the devil, it might be the Lord But you gonna serve somebody.

Maybe Maybe Maybe Maybe

high on [nail], rocking in the breeze [stuck/stole] a high time on your knees think you’re living, maybe even think you’re dead, sleeping on nails, sleeping in a feather bed

Still gonna serve somebody Well, if you not you will be serve[d?] somebody It might be the devil, it might be the Lord

602

gotta serve somebody

But you gonna serve somebody Portsmouth, September 24, 2000: They might call you Bono, they might call you Sting, They might call you [Jose], might call you anything, You might be rich or poor, may be blind or lame Living in another country, under another name Might [go under], you might own [tanks] May be living by the [wooden fakes ??? ;)] They might call you even, might say youâ&#x20AC;&#x2122;re dead May be sleeping on nails, sleepinâ&#x20AC;&#x2122; in a feather bed

603

Slow Train Coming

Precious Angel Words and music Bob Dylan Released on Slow Train Coming (1979) Tabbed by Eyolf Østrem Capo 3rd fret (sounding key Eb major) Chords: C C/e C/g F/g

x32010 032010 332010 3x3211 (or call it G11 if you like)

C F C F Precious angel, under the sun, C F Am F How was I to know you’d be the one C/e F C/g F To show me I was blinded, to show me I was gone C F Am F How weak was the foundation I was standing upon?

Now there’s spiritual warfare and flesh and blood breaking down.

Ya either got faith or ya got unbelief and there ain’t no neutral ground.

The enemy is subtle, how be it we are so deceived When the truth’s in our hearts and we still don’t believe?

C/e F C/g F Shine your light, shine your light on me C/e F C/g F Shine your light, shine your light on me C/e F C/g F Shine your light, shine your light on me Am C/g Ya know I just couldn’t make it by myself.

F Dm F/g I’m a little too blind to see.

My so-called friends have fallen under a spell.

They look me squarely in the eye and they say, "Well, all is well."

Can they imagine the darkness that will fall from on high When men will beg God to kill them and they won’t be able to die?

Sister, let me tell you about a vision I saw.

You were drawing water for your husband, you were suffering under the law.

You were telling him about Buddha, you were telling him about Mohammed in one breath.

You never mentioned one time the Man who came and died a criminal’s death.

Shine your light, shine your light Shine your light, shine your light Shine your light, shine your light Ya know I just couldn’t make it by I’m a little too blind to see.

604

on me on me on me myself.

precious angel

Precious angel, you believe me when I say What God has given to us no man can take away.

We are covered in blood, girl, you know both our forefathers were slaves.

Let us hope they’ve found mercy in their bone-filled graves.

You’re the queen of my flesh, girl, you’re my woman, you’re my delight, You’re the lamp of my soul, girl, and you torch up the night.

But there’s violence in the eyes, girl, so let us not be enticed On the way out of Egypt, through Ethiopia, to the judgment hall of Christ.

Shine your light, shine your light Shine your light, shine your light Shine your light, shine your light Ya know I just couldn’t make it by I’m a little too blind to see.

on me on me on me myself.

Shine your light, shine your light on me [repeat and fade]

605

Slow Train Coming

I Believe in You Words and music Bob Dylan Released on Slow Train Coming (1979) and on Biograph (1985) Tabbed by Eyolf Østrem Spice up the Es with an occasional Esus4 (022200)

E E They ask me how I feel And if my love is real A E And how I know I’ll make it through.

E And they, they look at me and frown, D They’d like to drive me from this town, A They don’t want me around E ’Cause I believe in you.

They show me to the door, They say don’t come back no more ’Cause I don’t be like they’d like me to, And I walk out on my own A thousand miles from home But I don’t feel alone ’Cause I believe in you.

D A E I believe in you even through the tears and the laughter, D A E I believe in you even though we be apart.

D A E I believe in you even on the morning after.

A B E E A Oh, when the dawn is nearing A B E E A Oh, when the night is disappearing A B E E A B Oh, this feeling is still here in my heart.

Don’t let me drift too far, Keep me where you are Where I will always be renewed.

And that which you’ve given me today Is worth more than I could pay And no matter what they say I believe in you.

I believe in you when winter turn to summer,

606

i believe in you

I believe in you when white turn to black, I believe in you even though I be outnumbered.

Oh, though the earth may shake me Oh, though my friends forsake me Oh, even that couldn’t make me go back.

Don’t let me change my heart, Keep me set apart From all the plans they do pursue.

And I, I don’t mind the pain Don’t mind the driving rain I know I will sustain ’Cause I believe in you.

607

Slow Train Coming

Slow Train Words and music Bob Dylan Released on Slow Train Coming (1979) Tabbed by Jeffrey Kokosinsky and Eyolf Østrem Am Dm

577555 557765

(or 002210) (or x00231)

Basic riff: Am Dm Am : . . . x2 : . . . : . . . |-----------------|-----------------|-----------------|*---------------*|-----------------|-----------------|--------strum the chords over the bass line----------|-----------------|-0-0-------0-----|-----------------|*0-0-------0----*|-----0-3---------|-0-0-------0-----|-----0-3---------|-----------------|-----0-3----------

Am Am Sometimes I feel so low-down and disgusted Dm Am Can’t help but wonder what’s happenin’ to my companions, Am Are they lost or are they found, have they counted the cost it’ll take to bring down Dm Am All their earthly principles they’re gonna have to abandon?

F Dm Am There’s a slow, slow train comin’ up around the bend.

I had a woman down in Alabama, She was a backwoods girl, but she sure was realistic, She said, "Boy, without a doubt, have to quit your mess and straighten out, You could die down here, be just another accident statistic."

There’s a slow, slow train comin’ up around the bend.

All that foreign oil controlling American soil, Look around you, it’s just bound to make you embarrassed.

Sheiks walkin’ around like kings, wearing fancy jewels and nose rings, Deciding America’s future from Amsterdam and to Paris And there’s a slow, slow train comin’ up around the bend.

Man’s ego is inflated, his laws are outdated, they don’t apply no more, You can’t rely no more to be standin’ around waitin’ In the home of the brave, Jefferson turnin’ over in his grave, Fools glorifying themselves, trying to manipulate Satan And there’s a slow, slow train comin’ up around the bend.

Big-time negotiators, false healers and woman haters, Masters of the bluff and masters of the proposition But the enemy I see wears a cloak of decency,

608

slow train

All non-believers and men stealers talkin’ in the name of religion And there’s a slow, slow train comin’ up around the bend.

People starving and thirsting, grain elevators are bursting Oh, you know it costs more to store the food than it do to give it.

They say lose your inhibitions, follow your own ambitions, They talk about a life of brotherly love, show me someone who knows how to live it.

There’s a slow, slow train comin’ up around the bend.

Well, my baby went to Illinois with some bad-talkin’ boy she could destroy A real suicide case, but there was nothin’ I could do to stop it, I don’t care about economy, I don’t care about astronomy But it sure do bother me to see my loved ones turning into puppets, There’s a slow, slow train comin’ up around the bend.

609

Slow Train Coming

Gonna Change My Way of Thinking Words and music Bob Dylan Released on Slow Train Coming (1979) Tabbed by Eyolf Østrem There isn’t really much of a chord structure here, just a 12-bar blues riff. The tab is just a suggestion – it could be played elsewhere and in other octaves – and so is the chords in parenthesis.

A (D C D) (D C A) : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|----------------|-----------------|-----------------|-----------------|----------------|-----------------|-----------------|-----------------|----------------|-----------------|-----------------|-----------------|----------------|-----------------|---5---3---5-----|-----------------|---5---3--------|-5-5-3-5---------|-----------------|-5-5-3-5---------|-----------5----D (G F D) A (D C D) : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|----------------|-----------------|-----------------|-----------------|----------------|-----------------|-----------------|-----------------|----------------|-----------------|---5---3---------|-----------------|----------------|-5-5-3-5---------|-----------5-----|-----------------|---5---3--------|-----------------|-----------------|-5-5-3-5---------|-----------5----E D A : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|----------------|-----------------|-----------------|-----------------|----------------|-----------------|-----------------|-----------------|----------------|-----------------|-----------------|-----------------|----------------|-7-7-5-7---------|-5-5-3-5---------|-------------3---|----------------|-----------------|-----------------|-5-5-3-5---3---3-|-5-5---3-5-5----A Change my way of thinking, Make myself a different set of rules.

D Gonna change my way of thinking, A Make myself a different set of rules.

E Gonna put my good foot forward, D A stop being influenced by fools.

So much oppression, Can’t keep track of it no So much oppression, Can’t keep track of it no Sons becoming husbands to And old men turning young

610

more. more. their mothers, daughters into whores.

gonna change my way of thinking

Stripes on your Stripes on your Stripes on your Stripes on your Swords piercing Blood and water

shoulders, back and on your hands. shoulders, back and on your hands. your side, flowing through the land.

Well don’t know which one is worse, Doing your own thing or just being cool.

Well don’t know which one is worse, Doing your own thing or just being cool.

You remember only about the brass ring, You forget all about the golden rule.

You You You You But And

can mislead a man, can take ahold of his heart with your eyes. can mislead a man, can take ahold of his heart with your eyes. there’s only one authority, that’s the authority on high.

I got a God-fearing woman, One I can easily afford.

I got a God-fearing woman, One I can easily afford.

She can do the Georgia crawl, She can walk in the spirit of the Lord.

Jesus said, "Be ready, For you know not the hour in which I come."

Jesus said, "Be ready, For you know not the hour in which I come."

He said, "He who is not for Me is against Me," Just so you know where He’s coming from.

There’s a kingdom called Heaven, A place where there is no pain of birth.

There’s a kingdom called Heaven, A place where there is no pain of birth.

Well the Lord created it, mister, About the same time He made the earth.

The version from Gotta Serve Somebody – The Gospel Songs of Bob Dylan (2003)(with Mavis Staples) The tab below is just a synthesis of what is played in most of the verses. There are variations, one of the most prominent being the use of parallel fifths (i.e. power chords) instead of single notes, at least in some of the verses, as indicated in the first bar.

611

Slow Train Coming

A : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| |----------(7---5)|-(etc)-----------|-----------------|-----------------| |(7-5-7)----5---3-|-----------------|-----------5---3-|-----------------| |-5-3-5-----------|-5-3-5-----------|-5-3-5-----------|-5-3-5-----------| D A : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| |-----------5---3-|-----------------|-----------------|-----------------| |-5-3-5-----------|-5-3-5-----------|-----------5---3-|-----------------| |-----------------|-----------------|-5-3-5-----------|-5-3-5-----------| E D A : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------------| |-----------------|-----------------|-----------------|-----------------------| |-----------------|-----------------|-----------------|-----------------------| |-----------------|-----------------|-----------------|------------5----------| |-7-5-7---------7-|-5-3-5-----5---3-|-----------5---3-|---------5h7----7p5----| |-----------0-----|-----------------|-5-3-5-----------|-5-3-5-------------8---| Change my way of thinking, make myself a different set of rules.

I’m gonna change my way of thinking, make myself a different set of rules.

Gonna put my best foot forward, stop being influenced by fools.

[Mavis enters] *) Gonna sit at the welcome table, I’m as hungry as a horse Sittin’ at the welcome table, I’m so hungry I could eat a horse I’m gonna revitalize my thinkin’, I’m gonna let the law take its course Jesus is coming, he’s coming back to gather his jewels Jesus is coming, he’s coming back to gather his jewels Well, we live by the golden rule: Whoever got the gold rules.

The sun is shining, ain’t but one train on this track The sun is shining, ain’t but one train on this track I’m steppin’ out of the dark woods, I’m jumpin’ on the monkey’s back.

Yes, I’m all dressed up, going to the country dance Said, I’m all dressed up, going to the country dance Every day you gotta pray for guidance, Every day you gotta give yourself a chance.

Well, there are storms out on the ocean, storms out on the mountain too Storms on the ocean, storms out on the mountain too O, Lord, you know I have no friend without you **) I’ll tell you something: things you never had, you’ll never miss.

I’ll tell you something: things you never had, you’ll never miss.

Tell you something else: a great man will kill you with a sword,

612

gonna change my way of thinking

a coward with a kiss. [instrumental verses]

*) Dialogue (borrowed from http://notdarkyet.tripod.com/change.html):

BOB: Now, look, someone is coming up the road, boys. (knock, knock) MAVIS STAPLES: Hey, hey! Hey there, Bobby!

BOB: Hey, it’s Mavis Staples!

MAVIS; Hey fellows! What’s Up? Aw, it’s good to see all of you.

My goodness, Bobby you got a nice place here!

BOB: Well, welcome to Califormia, Mavis!

MAVIS: Thank ya much! Whoa, you got a nice view!

BOB: Yeeah, it is. You can sit on this porch, and look right straight into Ha-wa-ii.

MAVIS: Yeah, I was over in them foothills.

BOB: (perplexed) Why? MAVIS: I was looking for me some fuel. I’m kind of hungry now.

Don’t you got anything to eat?

BOB: Well I’m sure we do. Momma, we have anything to eat?

WOMAN?S VOICE: Sure, we got plenty of chicken out there in the yard.

BOB: Well we’re gonna go knock a few of ’em off and fry ’em up.

BOB: Well, Mavis, I’ve had the blues.

MAVIS: Aw Bobby, don’t tell me you got the blues!

BOB: Uh hum I’ve been up all night laying in bed, had insomnia, reading Snoozeweek.

MAVIS: Oh, Snoozeweek! That ain’t gonna get rid of no blues.

BOB: Umh umh MAVIS: We gotta do some singing, let’s do some singing BOB: Aw . . . yeah, let’s do that.

MAVIS: Sing about it, you know. **) The end sounds like: "... like you"

613

Slow Train Coming

Do Right to Me Baby Words and music Bob Dylan Released on Slow Train Coming (1979) Tabbed by Eyolf Østrem Capo 7th fret (sounding key B major; in Toronto, Apr 20 1980, Dylan plays with barr chords, but Fred Tackett plays with a capo on the 7th fret)e chords, but Fred Tackett plays with a capo on the 7th fret) Chords: E7 A7

022430 (or 022130) 002020

E7 A7 E7 Don’t wanna judge nobody, don’t wanna be judged, E7 A7 E7 Don’t wanna touch nobody, don’t wanna be touched.

E7 A7 E7 Don’t wanna hurt nobody, don’t wanna be hurt, E7 A7 E7 Don’t wanna treat nobody like they was dirt.

G A7 E7 But if you do right to me, baby, G A7 E7 I’ll do right to you, too.

G A7 E7 Ya got to do unto others G(7) A7 E7 Like you’d have them, like you’d have them, do unto you.

Don’t Don’t Don’t Don’t

wanna wanna wanna wanna

shoot nobody, don’t wanna be shot, buy nobody, don’t wanna be bought. bury nobody, don’t wanna be buried, marry nobody if they’re already married.

But if you do right to me, baby, I’ll do right to you, too.

Ya got to do unto others Like you’d have them, like you’d have them, do unto you.

Don’t Don’t Don’t Don’t

wanna wanna wanna wanna

burn nobody, don’t wanna be burned, learn from nobody what I gotta unlearn. cheat nobody, don’t wanna be cheated, defeat nobody if they already been defeated.

But if you do right to me, baby, I’ll do right to you, too.

Ya got to do unto others Like you’d have them, like you’d have them, do unto you.

Don’t Don’t Don’t Don’t

614

wanna wanna wanna wanna

wink at nobody, don’t wanna be winked at, be used by nobody for a doormat. confuse nobody, don’t wanna be confused, amuse nobody, don’t wanna be amused.

do right to me baby

But if you do right to me, baby, I’ll do right to you, too.

Ya got to do unto others Like you’d have them, like you’d have them, do unto you.

Don’t Don’t Don’t Don’t

wanna betray nobody, don’t wanna be betrayed, wanna play with nobody, don’t wanna be waylaid. wanna miss nobody, don’t wanna be missed, put my faith in nobody, not even a scientist.

But if you do right to me, baby, I’ll do right to you, too.

Ya got to do unto others Like you’d have them, like you’d have them, do unto you.

615

Slow Train Coming

When You Gonna Wake Up? Words and music Bob Dylan Released on Slow Train Coming (1979) Tabbed by Eyolf Østrem Chords: Am Dm7 Dm

577555 x57565 x57765

Am Dm7 Am God don’t make promises that He don’t keep.

Dm7 Am You got some big dreams, baby, but in order to dream you gotta still be asleep.

Am When you gonna Dm when you gonna Am When you gonna Em and strengthen

Dm Dm

Am

G

F

wake up, G

Dm

wake up Dm Dm

Am

wake up Am the things that remain?

Counterfeit philosophies have polluted all of your thoughts.

Karl Marx has got ya by the throat, Henry Kissinger’s got you tied up in knots.

You got innocent men in jail, your insane asylums are filled, You got unrighteous doctors dealing drugs that’ll never cure your ills.

You got men who can’t hold their peace and women who can’t control their tongues, The rich seduce the poor and the old are seduced by the young.

Adulterers in churches and pornography in the schools, You got gangsters in power and lawbreakers making rules.

Spiritual advisors and gurus to guide your every move, Instant inner peace and every step you take has got to be approved.

Do you ever wonder just what God requires?

You think He’s just an errand boy to satisfy your wandering desires.

You can’t take it with you and you know that it’s too worthless to be sold, They tell you, "Time is money" as if your life was worth its weight in gold.

There’s a Man up on a cross and He’s been crucified.

Do you have any idea why or for who He died?

616

man gave names to all the animals

Man Gave Names to All the Animals Words and music Bob Dylan Released on Slow Train Coming (1979) Tabbed by Eyolf Østrem Chords (these are the chords he used in Toronto, Apr 20 1980): Em B A

779987 799877 577655

Em Man gave names to B In the beginning, Em Man gave names to B In the beginning,

all the animals Em in the beginning. all the animals Em long time ago.

Em B He saw an animal that liked to growl, B Em Big furry paws and he liked to howl, Em A Great big furry back and furry hair.

B Em "Ah, think I’ll call it a bear."

He saw an animal up on a hill Chewing*) up so much grass until she was filled.

He saw milk comin’ out but he didn’t know how.

"Ah, think I’ll call it a cow."

He saw an animal that liked to snort, Horns on his head and they weren’t too short.

It looked like there wasn’t nothin’ that he couldn’t pull.

"Ah, think I’ll call it a bull."

He saw an animal leavin’ a muddy trail, Real dirty face and a curly tail.

He wasn’t too small and he wasn’t too big.

"Ah, think I’ll call it a pig."**) Next animal that he did meet Had wool on his back and hooves on his feet, Eating grass on a mountainside so steep.

"Ah, think I’ll call it a sheep."

He saw an animal as smooth as glass Slithering his way through the grass.

Saw him disappear by a tree near a lake . . .

617

Slow Train Coming

*) I do prefer the occasional variation: “smoking up . . . ” **) Even here I prefer the variant “think I’ll call it a horse” (Fow Warfield, Nov 1980). One evening this was a cow too.

618

When He Returns Words and music Bob Dylan Released on Slow Train Coming (1979) Tabbed by Eyolf Østrem On the album the song is played on the piano, in the key of A[ major. During the 1979 shows it was played in A major, with guitar and piano.

Chords: D/a E11

D/a

x0423x or x04232 or x04235 022232

A A |A

E E |: D/a

A :|

D/a A A E D/a A D/a A The iron hand it ain’t no match for the iron rod, D/a A A E D/a A D/a A The strongest wall will crumble and fall to a mighty God. F#m A7/e D E(11) A For all those who have eyes and all those who have ears F#m A7/e D (A/c#) E E6 E7 It is only He who can reduce me to tears.

D/a A E D/a A Don’t you cry and don’t you die and don’t you burn D/a A E For like a thief in the night, He’ll replace wrong with right D/a A When He returns.

Truth is an arrow and the gate is narrow that it passes through, He unleashed His power at an unknown hour that no one knew.

How long can I listen to the lies of prejudice?

How long can I stay drunk on fear out in the wilderness?

Can I cast it aside, all this loyalty and this pride?

Will I ever learn that there’ll be no peace, that the war won’t cease Until He returns?

Surrender your crown on this blood-stained ground, take off your mask, He sees your deeds, He knows your needs even before you ask.

How long can you falsify and deny what is real?

How long can you hate yourself for the weakness you conceal?

Of every earthly plan that be known to man, He is unconcerned, He’s got plans of His own to set up His throne When He returns.

619

23 Saved

Recorded February 11–15 1980 — Released June 20 1980

622 624 626 628 630 631 632 635 636

A Satisfied Mind Saved Covenant Woman What Can I Do For You? Solid Rock Pressing On In the Garden Saving Grace Are You Ready?

Saved

A Satisfied Mind Written by J. H. “Red” Hayes/Jack Rhodes Released by Bob Dylan on Saved (1980), and played live once in 1999 Tabbed by Eyolf Østrem Live version (Philadelphia, Nov 9, 1999) Add a [C Csus4 C] or a [C Csus4 C Csus2 C] flourish at the end of each line and a Gsus4 or C/g for the Gs at midline.

Note that the first line in the first verse is sung completely different from the rest of the lines. Probably to fool the audience into thinking that he was going to sing Blowin’ in the wind. . .

Csus4 C Csus2 Gsus4 C/g

x33010 x32010 x30010 320013 302013

C Csus4 C (repeat ad lib) C F G How many times have C G "If I had his money C G But little they know C G One rich man in ten

C you heard someone say, F C I could do things my way."

F C that it’s so hard to find F C with a satisfied mind.

C G F C Once I was winning in fortune and fame; C G F C Everything that I dreamed of to get a start in lifes game.

C F G C But suddenly it happened, I lost every dime, C G F C But I’m richer by far with a satisfied mind.

C G Money can’t buy back C Or a friend when you’re C G The wealthiest person C G Compared to the man

F C your youth when you’re old G F C lonesome or a love that’s grown cold; F C is a pauper at times F C with a satisfied mind.

C G F C When life is over, my time has run out, C G F C My friends and my loved ones I’ll leave, there’s no doubt.

C F G C But one thing for certain, when it comes my time,

622

a satisfied mind

C G F C Iâ&#x20AC;&#x2122;ll leave this old world with a satisfied mind.

C F G How many times have

C you heard someone say.

Album version This is played very loosely. The chords used are all in the 7th position, so either use a capo on the 7th fret with the chords E, A/e and B11, or play without a capo with the barre chords B, E/b and F#11.

Since the outcome is the same, I thought I might as well use the capoed chords in the tab.

The A/e could be an Esus4 as well (022200). When the bass comes in towards the end of the first verse, it playes E and F] (i.e. A and B relative to the capo), which fits well with Esus4 also.

The second line is played without the first A/e in verses 2 and 3.

Chords (capo 7th fret): A/e B11

0xx220 x2222x

E E A/e E How many times have you heard someone say, A/e E A/e E "If I had his money Iâ&#x20AC;&#x2122;d do things my way."

E A/e E Mmm, but little they know A/e E Mmmmm, that itâ&#x20AC;&#x2122;s so hard to find B11 E One rich man in ten with a satisfied mind.

E A/e E Mmmmm, mmmmm

623

Saved

Saved Words and music Bob Dylan Released on Saved (1980) Tabbed by Eyolf Østrem (it wasn’t all that hard, really. . . )

B I was blinded by the devil, Born already ruined, Stone-cold dead As I stepped out of the womb.

By His grace I have been touched,

By His word I have been healed,

By His hand I’ve been delivered,

By His spirit I’ve been sealed.

I’ve been saved By the blood of the lamb, Saved By the blood of the lamb, Saved, (saved) E And I’m so glad Yes, I’m so glad, B Well, I’m so glad, so glad, F# (F#maj7 F#7) I want to thank You, Lord, E I want to thank You, Lord, B I want to thank You, Lord.

By By By In

624

His His His His

truth I can be upright, strength I do endure, power I’ve been lifted, love I am secure.

saved

He bought me with Freed me from the Full of emptiness And the fire that

a price, pit, and wrath burns in it.

I’ve been saved...

Nobody to rescue me, Nobody would dare, I was going down for the last time, But by His mercy I’ve been spared.

Not by works, But by faith in Him who called, For so long I’ve been hindered, For so long I’ve been stalled.

625

Saved

Covenant Woman Words and Music by Bob Dylan Released on Saved (1980) Tabbed by Eyolf Østrem This is a song for the whole 1980 gospel band. The original key is F major. For guitar only there seem to be two possibilities: Capo 3rd fret, chords of D major, or capo 5th fret, chords of C major.

I’m sure he plays one of these on the album, but I’m not certain about which one. I seem to hear a D minor chord type’ish sound in the second line, which would suggest the C major version, but then again, the D version gives the pleasant A major at the end, and the least awkward chords overall.

C Am Em Dm Covenant woman got a contract with the Lord Am G Way up yonder, great will be her reward.

C Am Em Dm Covenant woman, shining like a morning star, Am G I know I can trust you to stay the way you are.

F Am And I just got to tell you Bb /c I do intend F Am Bb /c To stay closer than any friend.

F Am I just got to thank you Bb Once again C /Bb For making your prayers known /a /g C /Bb /a /g Unto heaven for me C /Bb /a /g C /Bb And to you, always, so grateful /a /g F I will forever be. | C . . G

|

I’ve been broken, shattered like an empty cup.

I’m just waiting on the Lord to rebuild and fill me up And I know He will do it ’cause He’s faithful and He’s true, He must have loved me so much to send me someone as fine as you.

And I just got to tell you I do intend To stay closer than any friend.

I just got to thank you Once again

626

covenant woman

For making your prayers known Unto heaven for me And to you, always, so grateful I will forever be.

Covenant woman, intimate little girl Who knows those most secret things of me that are hidden from the world.

You know we are strangers in a land we’re passing through.

I’ll always be right by your side, I’ve got a covenant too.

And I just got to tell you I do intend To stay closer than any friend.

I just got to thank you Once again For making your prayers known Unto heaven for me And to you, always, so grateful I will forever be.

627

Saved

What Can I Do For You? Words and Music by Bob Dylan Released on Saved (1980) Tabbed by Eyolf Østrem Capo 3rd fret (original key Eb major).

I have for some reason transcribed the final harp solo. You can find it here. (Eb harp, straight. The transcription is in C major). It is far from optimized for screen viewing, not at all, but you can save the image and print it out if/when you want to recreate Dylan’s most glorious moment as a harpist. .[There’s also a midi file, not to listen to, but to insert into the program “Harping” (if you use Windows), which you can download from http://www.freeyellow.com/members6/harping/.

|: Am

G F Am :|

C Am F G You have given everything to me.

F F/G C What can I do for You? C Am F G You have given me eyes to see.

F F/G C What can I do for You? Am C/G F C/E Pulled me out of bondage and You made me renewed inside, Am G C Dm Filled up a hunger that had always been denied, Am C/G F C/E Dm Opened up a door no man can shut and You opened it up so wide Am C/G F And You’ve chosen me to be among the few.

C What can I do for You? You have What can You have What can

laid down Your life for me.

I do for You? explained every mystery.

I do for You?

Soon as a man is born, you know the sparks begin to fly, He gets wise in his own eyes and he’s made to believe a lie.

Who would deliver him from the death he’s bound to die?

Well, You’ve done it all and there’s no more anyone can pretend to do.

What can I do for You? You have given all there is to give.

What can I do for You? You have given me life to live.

How can I live for You? I know all about poison, I know all about fiery darts, I don’t care how rough the road is, show me where it starts, Whatever pleases You, tell it to my heart.

628

what can i do for you?

Well, I donâ&#x20AC;&#x2122;t deserve it but I sure did make it through.

What can I do for You?

I have for some reason transcribed the final harp solo. You can find it here. It is not optimized for screen viewing, not at all, but you can save the image and print it out if/when you want to recreate Dylanâ&#x20AC;&#x2122;s most glorious moment as a harpist.

629

Saved

Solid Rock Words and music Bob Dylan Released on Saved (1980) and on Biograph (1985) Tabbed by Eyolf Østrem Opening riff: Play on the 6th string while holding a barre A (-0222x): ’ ’ ’ ’ ’ ’ ’ ’ | 0 3 5 . 5 . 3 5 . 5 3 . 5 . . . |

(Or hire a bass player. . . )

A C D A Well, I’m hangin’ on C D A to a solid rock D E F#m Made D E F#m before D E F#m the foundation D E F#m of A the world D And I won’t let go, and I can’t let go, won’t let go A And I can’t let go, won’t let go, and I can’t let go no more.

C D A C D A For me He was chastised, for me He was hated, C D A E For me he was rejected by a world that He created.

C D A C D A Nations are angry, cursed are some, C D A E People are expecting a false peace to come.

G A Well I’m hangin’ on ...

It’s the ways of the flesh to war against the spirit, Twenty-four hours a day you can feel it and you can hear it Using all the devices under the sun.

And He never give up ’til the battle’s lost or won.

630

pressing on

Pressing On Words and music Bob Dylan Released on Saved (1980) Tabbed by Eyolf Østrem “Piano song”. When played on a guitar it sits better in G with a capo on the 3rd fret and the chords: Chorus: G C/G Bm Verse: G Bm C D

Bb

Eb/Bb

C G

G

C

D

G

Bb

Bb Eb/Bb Bb Well I’m pressing on Dm I’m pressing on Eb Bb I’m pressing on Eb F Bb To the higher calling of my Lord. (three times) Bb Dm Eb F Bb Many try to stop me, shake me up in my mind, Bb Dm Eb F Bb Say, "Prove to me that He is Lord, show me a sign."

Bb Dm Eb F Bb What kind of sign they need when it all come from within, Bb Dm Eb F When what’s lost has been found, what’s to come has already been?

Bb I just keep Pressing on ...

Shake the dust off of your feet, don’t look back.

Nothing now can hold you down, nothing that you lack.

Temptation’s not an easy thing, Adam given the devil reign Because he sinned I got no choice, it run in my vein.

Additional third verse sung November 4, 1979 : You know the adversary never sleeps - he is a roaring beast.

He always comes at the time that you expect him least.

And you know that he’s responsible for death and pain and loss, But we know we’ll overcome him by the victory at the cross.

631

Saved

In the Garden Words and Music by Bob Dylan Released on Saved (1980) Tabbed by Eyolf Ă&#x2DC;strem G+ (=Gaug) = 321003 or 355443

B F# G#m G+ When they came for Him in the garden, did they know?

Cm G+ Eb F When they came for Him in the garden, did they know?

G C/G G7 C/G Did they know He was the Son of God, did they know that He was Lord?

G C/G G7 C/G Did they hear when He told Peter, "Peter, put up your sword"?

A D/A A7 D/A When they came for Him in the garden, did they know?

B E/B B7 E/B When they came for Him in the garden, did they know?

F#

B/F#

F#

When He spoke to them in the city, did they hear?

When He spoke to them in the city, did they hear?

Nicodemus came at night so he wouldnâ&#x20AC;&#x2122;t be seen by men Saying, "Master, tell me why a man must be born again."

When He spoke to them in the city, did they hear?

When He spoke to them in the city, did they hear?

When When When Same When When Did Did The Why Did Did

He healed the blind and crippled, did they see?

He healed the blind and crippled, did they see?

He said, "Pick up your bed and walk, why must you criticize? thing My Father do, I can do likewise."

He healed the blind and crippled, did they see?

He healed the blind and crippled, did they see? they speak out against Him, did they dare? they speak out against Him, did they dare? multitude wanted to make Him king, put a crown upon His head did He slip away to a quiet place instead? they speak out against Him, did they dare? they speak out against Him, did they dare?

When He rose from the dead, did they believe?

When He rose from the dead, did they believe?

He said, "All power is given to Me in heaven and on earth."

Did they know right then and there what that power was worth?

When He rose from the dead, did they believe?

When He rose from the dead, did they believe?

When He rose from the dead, did they believe?

When He rose from the dead, did they believe?

He said, "All power is given to Me in heaven and on earth."

Did they know right then and there what that power was worth?

When He rose from the dead, did they believe?

632

in the garden

When He rose from the dead, did they believe?

Live version, 1988 Chords (for practial solutions, see the tab below): B D#m G#m G+ Cm Eb F#+/b F#/b

799877 x68876 466444 xx5443 or x-10-988x 8-10-10-888 x68886 xx9-11-11-10 xx9-11-11-9

B D#m G#m G+ When they came for Him in the garden, did they know?

Cm G+ Eb F When they came for Him in the garden, did they know?

G *) Did they know He was the Son of God, did they know that He was Lord?

Did they hear when He told Peter, "Peter, put up your sword"?

A When they came for Him in the garden, did they know?

B When they came for Him in the garden, did they know?

F#+/b .

F#/b

.

E

A/e

E

.

B D#m G#m G+ : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|---------3-------| |---------7-------|---------7-------|---------4-------|-----4-----------| |-----8-----------|-----8-----------|-----4-------4---|---4-------------| |-9---------------|-8---------------|-6---------------|-5---------------| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| Cm G+ Eb F : . . . : . . . : . . . : . . . |-----------------|-----------------|---------6-------|-8---------------| |---------8-------|---------8-------|-8-------8-------|-10--------------| |-----8-----------|-----8-----------|-8-------8-------|-10--------------| |-10--------------|-9---------------|-8---------------|-10--------------| |-----------------|-----------------|-----------------|-8---------------| |-----------------|-----------------|-----------------|-----------------|

633

Saved

G : . . . : . . . x3 : . . . : . . . ||------------------|-----------------||------------------|-----------------| ||*-----------------|----------------*||------------------|-----------------| ||------------------|-----------------||------------------|---------3-------| ||------------------|-----------------||------------------|-------3---5-----| ||*-----------------|-3---3---4---5--*||------------------|-3-4-5-----------| ||--3---3---6---6---|-----------------||--3---3---6---6---|-----------------| A B : . . . : . . . : . . . : . . . ||------------------|-----------------||------------------|-----------------|| ||*-----------------|----------------*||*-----------------|-----------------|| ||------------------|-----------------||------------------|-----------------|| ||------------------|-----------------||------------------|-----------------|| ||*-----------------|-5---5---6---7--*||*-----------------|-7---7---8---9---|| ||--5---5---8---8---|-----------------||--7---7---10--10--|-----------------|| F#+/b F#/b E A/e E . : . . . : . . . : . . . : . . . |-10----10----10----|-9-----9-------|-7---7---7---5---|-4---------------| |---11----11----11--|---11----11----|-----------------|-----------------| |-----11----11----11|-----11-----11-|---9---9---9---7-|-4---------------| |-9-----------------|---------------|-----------------|-----------------| |-------------------|---------------|-----------------|-----------------| |-------------------|---------------|-----------------|-----------------|

Alternative for the last line: F#+/b F#/b E (A/e) E . : . . . : . . . : . . . : . . . |-10--10--10--10--|-9---9---9---9---|---------7-------|-----------------| |-11--11--11--11--|-11--11--11--11--|-----7-----7---7-|h9---------------| |-11--11--11--11--|-11--11--11--11--|\9-----9-----9---|-----------------| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------|

Outro: B . . . D#m . . . G#m . . . G+ . . .

Cm . . . B+ . . . Eb . . . F9 . . .

G

On the Hard to Handle video (Feb 1986) it was, according to Keith Mathis, played with the following chord formations: B D#m G#m G+ Cm Eb

xxx442 xxx342 xx6444 xx5443 or xxx443 xxx543 xxx343

and with the riff in the second half played in the first position.

634

saving grace

Saving Grace Words and music by Bob Dylan Released on Saved (1980) Tabbed by Eyolf Østrem

C C/7 F G C If You find it in Your heart, can I be forgiven?

C C/B Am C/G F Bb F Guess I owe You some kind of apology. /F /G Ab C I’ve escaped death so many times, I know I’m only living G C By the saving grace that’s over me.

By this time I’d-a thought I would be sleeping In a pine box for all eternity.

My faith keeps me alive, but I still be weeping For the saving grace that’s over me.

Well, the death of life, then come the resurrection, Wherever I am welcome is where I’ll be.

I put all my confidence in Him, my sole protection Is the saving grace that’s over me.

Well, the devil’s shining light, it can be most blinding, But to search for love, that ain’t no more than vanity.

As I look around this world all that I’m finding Is the saving grace that’s over me.

The wicked know no peace and you just can’t fake it, There’s only one road and it leads to Calvary.

It gets discouraging at times, but I know I’ll make it By the saving grace that’s over me.

635

Saved

Are You Ready?

Words and music Bob Dylan Released on Saved (1980) Tabbed by Eyolf Østrem

G C Bb Are you G C Bb Are you G C Bb Are you G C Bb Are you C Are you

G C Bb ready G C Bb ready G C Bb ready G C Bb ready ready to meet Jesus?

Are you where you ought to be?

Will He know you when He sees you Or will He say, "Depart from Me"?

G C Bb G C Bb Are you ready, G C Bb G C Bb hope you’re ready.

Am I ready? am I ready?

Am I ready? am I ready?

Am I ready to lay down my life for the brethren And to take up my cross?

Have I surrendered to the will of God Or am I still acting like the boss?

Am I ready, hope I’m ready.

When destruction cometh swiftly And there’s no time to say a fare-thee-well, Have you decided whether you want to be In heaven or in hell?

Are you ready? Are you ready?

Have you got some unfinished business?

Is there something holding you back?

Are you thinking for yourself Or are you following the pack?

Are Are Are Are

636

you you you you

ready ready ready ready

for for for for

the judgment? that terrible swift sword?

Armageddon? the day of the Lord?

24 Shot of Love

Recorded April–May, 1981 — Released August 12, 1981

638 640 642 644 645 647 649 651 652 654

Shot of Love Heart of Mine Property of Jesus Lenny Bruce Watered-Down Love The Groom’s Still Waiting at the Altar Dead Man, Dead Man In the Summertime Trouble Every Grain of Sand

Shot of Love

Shot of Love Words and music Bob Dylan Released on Shot of Love (1981) Tabbed by Eyolf Østrem

(B) I need (I need, I need) a shot of love, I need (I need, I need) a shot of love.

B Don’t need a shot of heroin to kill my disease, Don’t need a shot of turpentine, only bring me to my knees, Don’t need a shot of codeine to help me to repent, Don’t need a shot of whiskey, help me be president.

E D B I need a shot of love, E D B I need a shot of love.

Doctor, can you hear me? I need some Medicaid.

I seen the kingdoms of the world and it’s makin’ me feel afraid.

What I got ain’t painful, it’s just bound to kill me dead Like the men that followed Jesus when they put a price upon His head.

I need a shot of love, I need a shot of love.

I don’t need no alibi when I’m spending time with you.

I’ve heard all of them rumors and you have heard ’em too.

Don’t show me no picture show or give me no book to read, It don’t satisfy the hurt inside nor the habit that it feeds.

I need a shot of love, I need a shot of love.

Why would I want to take your life?

You’ve only murdered my father, raped his wife, Tattooed my babies with a poison pen, Mocked my God, humiliated my friends.

I need a shot of love, I need a shot of love.

Don’t wanna be with nobody tonight Veronica not around nowhere, Mavis just ain’t right.

There’s a man that hates me and he’s swift, smooth and near, Am I supposed to set back and wait until he’s here?

I need a shot of love, I need a shot of love.

What makes the wind wanna blow tonight?

Don’t even feel like crossing the street and my car ain’t actin’ right.

Called home, everybody seemed to have moved away.

My conscience is beginning to bother me today.

638

shot of love

I need a shot of love, I need a shot of love.

B I need a shot of love, I need a shot of love.

If youâ&#x20AC;&#x2122;re a doctor, I need a shot of love.

639

Shot of Love

Heart of Mine Words and music Bob Dylan Released on Shot of Love (1981) and in a live version on Biograph (1985) Tabbed by Eyolf Østrem This is a “piano song”, which means that it translates fairly badly to an unaccompanied guitar. The easiest way to make the nice sixth–maj seventh turns sound well, is to use a capo on the second fret and play D – D6 – Dmaj7 – D6. The same turn can be played in B major as well, but anyone who is able to play that, will also be able to find the chords himself, so I didn’t bother to write it out. . .

It should be mentioned also that it suits open D/E tuning very well, with the chords (labelled not by how they sound, but which chords they correspond to in the tab): E E6 Emaj7 B E/b B/f# F#

555555 575555 595555 000000 020100 797877 777777

Intro: B E B Heart of mine be still, E B You can play with fire but you’ll get the bill Don’t let her know E/b B E/b B E/b B Don’t let her know that you love her.

B/f# F# B/f# F# B/f# F# Don’t be a fool, don’t be blind B Heart of mine.

Heart of mine go back home, You got no reason to wander, you got no reason to roam.

Don’t let her see Don’t let her see that you need her.

Don’t put yourself over the line Heart of mine.

Heart It’ll Don’t Don’t

of mine only be let her let her

go back where you been, trouble for you if you let her in. hear you want her. know she’s so fine Heart of mine.

Heart of mine you know that she’ll never be true, She’ll only give to others the love that she’s gotten from you.

Don’t let her know Don’t let her know where you’re going.

Don’t untie the ties that bind Heart of mine.

640

heart of mine

Heart of mine so malicious and so full of guile, Give you an inch and you’ll take a mile.

Don’t let yourself fall Don’t let yourself stumble.

If you can’t do the time, don’t do the crime Heart of mine.

Chords with capo on 2nd fret: D6 Dmaj7 D/a A

x00432 (use a half-barre) or xx0202 x00222 x0423(2) x0222(0) (half-barre)

The “Don’t let her know” line could be played something like D/a A D/a A D/a A : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------| |---------------2-|-----------------|-3-2-----3-2-----|-3-2-------------| |---------------2-|-----------------|-2-2---2-2-2---2-|-2-2-------------| |---------------2-|-----------------|-4-2-----4-2-----|-4-2-------------| |---------5-4-0---|(0)--------------|-0-------0-------|-0---------------| |---------5-------|-----------------|-----------------|-----------------| A D D6 Dmaj7 D6 A Heart of mine be still, D D6 Dmaj7 D6 A You can play with fire but you’ll get the bill Don’t D/a Don’t A/e Don’t

let her know A D/a A D/a A let her know that you love her.

E A/e E A/e E be a fool, don’t be blind A Heart of mine.

641

Shot of Love

Property of Jesus Words and music Bob Dylan Released on Shot of Love (1981) Tabbed by Eyolf Østrem The song can of course be played with a capo on the 1st fret (chords A, F], E, D) or on the 3rd fret (G, Em, D, C) Recurrent riff: |-----------------| |---------6-------| |---7-8-7---7-8-7-| |-8---------------| |-----------------| |-----------------| Bb Go ahead and talk about him because he makes you doubt, Because he has denied himself the things that you can’t live without.

Laugh at him behind his back just like the others do, Remind him of what he used to be when he comes walkin’ through.

Gm F Eb He’s the property of Jesus Gm F Eb Resent him to the bone Gm F Eb You got something better Bb You’ve got a heart of stone Stop your conversation when he passes on the street, Hope he falls upon himself, oh, won’t that be sweet Because he can’t be exploited by superstition anymore Because he can’t be bribed or bought by the things that you adore.

He’s the property of Jesus Resent him to the bone You got something better You’ve got a heart of stone When the whip that’s keeping you in line doesn’t make him jump, Say he’s hard-of-hearin’, say that he’s a chump.

Say he’s out of step with reality as you try to test his nerve Because he doesn’t pay no tribute to the king that you serve.

He’s the property of Jesus Resent him to the bone You got something better You’ve got a heart of stone

642

property of jesus

Say that he’s a loser ’cause he got no common sense Because he don’t increase his worth at someone else’s expense.

Because he’s not afraid of trying, ’cause he don’t look at you and smile, ’Cause he doesn’t tell you jokes or fairy tales, say he’s got no style.

He’s the property of Jesus Resent him to the bone You got something better You’ve got a heart of stone You can laugh at salvation, you can play Olympic games, You think that when you rest at last you’ll go back from where you came.

But you’ve picked up quite a story and you’ve changed since the womb.

What happened to the real you, you’ve been captured but by whom?

He’s the property of Jesus Resent him to the bone You got something better You’ve got a heart of stone

643

Shot of Love

Lenny Bruce Words and music Bob Dylan Released on Shot of Love (1981) Tabbed by Eyolf Østrem Capo 1st fret (sounding key A[ major)

G C G/b G C G/b D/a G Lenny Bruce is dead but his ghost lives on and on G D C G C G/b Am G D Never did get any Golden Globe award, never made it to Syna-non.

C C G C(/g) G He was an outlaw, that’s for sure, C(/g) G C G/b Am G D/f# (C/e) More of an outlaw than you e - ver were.

G C G/b G C G/b D7 C/d G Lenny Bruce is gone but his spirit’s livin’ on and on.

Maybe he had some problems, maybe some things that he couldn’t work out But he sure was funny and he sure told the truth and he knew what he was talkin’ about. Never robbed any churches nor cut off any babies’ heads, He just took the folks in high places and he shined a light in their beds.

He’s on some other shore, he didn’t wanna live anymore.

Lenny Bruce He just had I rode with Seemed like Lenny Bruce

is dead but he didn’t commit any crime the insight to rip off the lid before its time. him in a taxi once, only for a mile and a half, it took a couple of months. moved on and like the ones that killed him, gone.

They said that he was sick ’cause he didn’t play by the rules He just showed the wise men of his day to be nothing more than fools.

They stamped him and they labeled him like they do with pants and shirts, He fought a war on a battlefield where every victory hurts.

Lenny Bruce was bad, he was the brother that you never had.

644

watered-down love

Watered-Down Love Words and music Bob Dylan Released on Shot of Love (1981) Tabbed by Eyolf Østrem There are two problems with this song concerning how to translate it to a tab for a single guitar. One is the use of a capo or not, the other is what to do with the sustained B[ (the key note) throughout the verse. It can be played uncapoed, with barre chords, but then the sustained tone will have to go, along with other sublteties that are more easily produced if you play with a capo somewhere. I include two such versions at the end.

The “F(6)” (and correspondingly in the other versions) is not absolutely necessary – it comes out of the mixture of tones.

The chords in the beginning of the verse should be embellished: B[ – Eb/bb – B[ (capoed: A – D/a – A and G – C/g – G) and Eb – Ebsus4 – Eb (D – Dsus4 -D; C – Csus4 – C).

Bb Eb Love that’s pure hopes all things, Bb Eb Believes all things, won’t pull no strings, Eb Bb/d Cm Bb Won’t sneak up into your room, tall, dark and handsome, Eb Bb/d Cm F(6) Capture your soul and hold it for ransom.

Bb Eb Bb You don’t want a love that’s pure Eb You wanna drowned love F11 Bb You want a watered-down love Love that’s pure, it don’t make no claims, Intercedes for you ’stead of casting you blame, Will not deceive you or lead you to transgression, Won’t write it up and make you sign a false confession.

You don’t want a love that’s pure You wanna drown love You want a watered-down love Love that’s pure won’t lead you astray, Won’t hold you back, won’t mess up your day, Won’t pervert you, corrupt you with stupid wishes, It don’t make you envious, it don’t make you suspicious.

You don’t want a love that’s pure You wanna drown love You want a watered-down love Love that’s pure ain’t no accident, Always on time, is always content, An eternal flame, quietly burning, Never needs to be proud, restlessly yearning.

You don’t want a love that’s pure You wanna drown love You want a watered-down love

645

Shot of Love

Version with capo 1st fret: A D Love that’s pure hopes all things, A D Believes all things, won’t pull no strings, D A/c# Bm A Won’t sneak up into your room, tall, dark and handsome, D A/c# Bm E(6) Capture your soul and hold it for ransom.

A D A You don’t want a love that’s pure D You wanna drowned love E11 A You want a watered-down love

Version with capo 3rd fret: G C Love that’s pure hopes all things, G C Believes all things, won’t pull no strings, C G/b Am G Won’t sneak up into your room, tall, dark and handsome, C G/b Am D(6) Capture your soul and hold it for ransom.

G C G You don’t want a love that’s pure C You wanna drowned love D11 G You want a watered-down love

646

the groom’s still waiting at the altar

The Groom’s Still Waiting at the Altar Words and music Bob Dylan Released on Biograph (1985) and on the CD edition of Shot of Love (1981) Tabbed by Eyolf Østrem Tabbed with a capo in the 1st fret.

The rise at the end of the chorus is acutally only single bass tones – not full chords. This is most bothersome for the E, which is neither a minor nor a major chord. Playing it as an Em chord sounds best.

The easiest way to produce the chords and recurring riff on a single guitar is to play it one octave down from where it is on the album: A . . . |-(0)-------------------------|-(2)-------------------------|-(2)-------------------------|-(2)-------------------------|-(0)----------3-3-0---0------|--------------------3--------A Prayed in the ghetto with my face in the cement, Heard the last moan of a boxer, seen the massacre of the innocent Felt around for the light switch, became nauseated.

She was walking down the hallway while the walls deteriorated.

D A East of the Jordan, hard as the Rock of Gibraltar, E D I see the burning of the page, Curtain risin’ on a new age, A C D E(m) A See the groom still waitin’ at the altar.

Try to be pure at heart, they arrest you for robbery, Mistake your shyness for aloofness, your shyness for snobbery, Got the message this morning, the one that was sent to me About the madness of becomin’ what one was never meant to be.

West of the Jordan, east of the Rock of Gibraltar, I see the burning of the stage, Curtain risin’ on a new age, See the groom still waitin’ at the altar.

Don’t know what I can say about Claudette that wouldn’t come back to haunt me, Finally had to give her up ’bout the time she began to want me.

But I know God has mercy on them who are slandered and humiliated.

I’d a-done anything for that woman if she didn’t make me feel so obligated.

West of the Jordan, west of the Rock of Gibraltar, I see the burning of the cage, Curtain risin’ on a new stage, See the groom still waitin’ at the altar.

Put your hand on my head, baby, do I have a temperature?

647

Shot of Love

I see people who are supposed to know better standin’ around like furniture.

There’s a wall between you and what you want and you got to leap it, Tonight you got the power to take it, tomorrow you won’t have the power to keep it.

West of the Jordan, east of the Rock of Gibraltar, I see the burning of the stage, Curtain risin’ on a new age, See the groom still waitin’ at the altar.

Cities on fire, phones out of order, They’re killing nuns and soldiers, there’s fighting on the border.

What can I say about Claudette? Ain’t seen her since January, She could be respectably married or running a whorehouse in Buenos Aires.

West of the Jordan, west of the Rock of Gibraltar, I see the burning of the stage, Curtain risin’ on a new age, See the groom still waitin’ at the altar.

648

dead man, dead man

Dead Man, Dead Man Words and music Bob Dylan Released on Shot of Love (1981) Tabbed by Eyolf Østrem A true two-chord song! One of his many reggae-influenced songs from this period. The Am could/should be livened up with flourishes in the G-direction, underlining the reggae rhythm – something like: : . . . : |-----0-0-----0---|---|-----1-1-----1---|---|-----2-2-----2---|---|-----2-2-----2---|---|-----0-0-----0---|---|---------3-------|----

or even better with Am played 577555, when you’ll get that high, ringing a on the first string.

Am Uttering idle words from a reprobate mind, Clinging to strange promises, dying on the vine, E Never bein’ able to separate the good from the bad, Am Ooh, I can’t stand it, I can’t stand it, It’s makin’ me feel so sad.

Dead man, dead man, When will you arise?

E Cobwebs in your mind, Am Dust upon your eyes.

Satan got you by the heel, there’s a bird’s nest in your hair.

Do you have any faith at all? Do you have any love to share?

The way that you hold your head, cursin’ God with every move, Ooh, I can’t stand it, I can’t stand it, What are you tryin’ to prove?

Dead man, dead man, When will you arise?

Cobwebs in your mind, Dust upon your eyes.

The glamour and the bright lights and the politics of sin, The ghetto that you build for me is the one you end up in, The race of the engine that overrules your heart, Ooh, I can’t stand it, I can’t stand it, Pretending that you’re so smart.

649

Shot of Love

Dead man, dead man, When will you arise?

Cobwebs in your mind, Dust upon your eyes.

What are you tryin’ to overpower me with, the doctrine or the gun?

My back is already to the wall, where can I run?

The tuxedo that you’re wearin’, the flower in your lapel, Ooh, I can’t stand it, I can’t stand it, You wanna take me down to hell.

Dead man, dead man, When will you arise?

Cobwebs in your mind, Dust upon your eyes.

650

in the summertime

In the Summertime Words and music Bob Dylan Released on Shot of Love (1981) Tabbed by Eyolf Østrem

A D I was in your presence for an hour or so E A Or was it a day? I truly don’t know.

A D Where the sun never set, where the trees hung low E A By that soft and shining sea.

A D Did you respect me for what I did E A Or for what I didn’t do, or for keeping it hid?

A D Did I lose my mind when I tried to get rid E A Of everything you see?

A D In the summertime, A D In the summertime

E A ah in the summertime, E A when you were with me.

I got the heart and you got the blood, We cut through iron and we cut through mud.

Then came the warnin’ that was before the flood That set everybody free.

Fools they made a mock of sin, Our loyalty they tried to win But you were closer to me than my next of kin When they didn’t want to know or see.

In the summertime, ah in the summertime, In the summertime when you were with me.

Strangers, they meddled in our affairs, Poverty and shame was theirs.

But all that sufferin’ was not to be compared With the glory that is to be.

And I’m still carrying the gift you gave, It’s a part of me now, it’s been cherished and saved, It’ll be with me unto the grave And then unto eternity.

In the summertime, ah in the summertime, In the summertime when you were with me.

651

Shot of Love

Trouble Words and music Bob Dylan Released on Shot of Love (1981) Tabbed by Eyolf Østrem Basic riff: : . . . : . . . |------8------------8---------|----8------------8------------| |-/10--------8--10-------8-10˜|˜---------8-10--------8-10-10˜| |---------9------------9------|-------9-----------9----------| etc. |-----------------------------|------------------------------| |-----------------------------|------------------------------| |-----------------------------|------------------------------|

Bass: |-------------|-------------|-------------|-------------|-0--3--------|-------0--3---

And guitar: : . . . |------------------------|-------------------1----|-2--2--0-----2--2-------|------------------------|------------------------|-------------------------

The A should be played with as little third (c/c]) as possible (although in the third verse a clear A major can be heard. . . ), thus x022xx, with the bass riff going on underneath.

A(m) Trouble in the city, trouble in the farm, You got your rabbit’s foot, you got your good-luck charm.

C D A(m) But they can’t help you none when there’s trouble.

Trouble, Trouble, trouble, trouble, Nothin’ but trouble.

Trouble in the water, trouble in the air, Go all the way to the other side of the world, you’ll find trouble there.

Revolution even ain’t no solution for trouble.

652

trouble

Trouble, Trouble, trouble, trouble, Nothin’ but trouble.

Drought and starvation, packaging of the soul, Persecution, execution, governments out of control.

You can see the writing on the wall inviting trouble.

Trouble, Trouble, trouble, trouble, Nothin’ but trouble.

Put your ear to the train tracks, put your ear to the ground, You ever feel like you’re never alone even when there’s nobody else around?

Since the beginning of the universe man’s been cursed by trouble.

Trouble, Trouble, trouble, trouble, Nothin’ but trouble.

Nightclubs of the broken-hearted, stadiums of the damned, Legislature, perverted nature, doors that are rudely slammed.

Look into infinity, all you see is trouble.

Trouble, Trouble, trouble, trouble, Nothin’ but trouble.

653

Shot of Love

Every Grain of Sand Words and Music Bob Dylan Released on Shot of Love (1981), Biograph (1985) and in an early version on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem

Bootleg Series version In the bootleg series version Bob is at the piano, hence the song is in A[ major. Fred Tackett does the guitar part, which should be played with a capo on the 3rd fret. I’m not sure if anyone is aware of the rhythm to begin with, but once the singing begins, it becomes apparent to both Dylan and Tackett that the song is in 6/8 and not in 4/4, as they play in the intro. The tab below begins where the verse begins, and it’s an approximation to what he should have played, rather than an exact reproduction of what he actually plays.

The Dm is in fact a B[maj7 (sounding) with the bass tones from the piano, although the guitar plays a Dm/f (xx3231).

Capo 3rd fret (sounding key A[ major) C11 x3333x (could be played C7sus4 x33310) F Dm/f | . . . | . . . |---------1-------|---------1-------| |-----1-----1---1-|-----3-----3---3-| |---2---2-----2---|---2---2-----2---|three times |-3---------------|-3---------------| |-----------------|-----------------| |-----------------|-----------------| C Csus4 C | . . . | . . . |-----------------|-----------------| |-----1-------1---|-----1-----------| |---0---0---0---0-|---0---0-----0---| |-2-------3-------|-2-------2-3-----| |-----------------|-----------------| |-----------------|-----------------| C C7 | . . . | . . . |---------0-------|---------3-------| |-----1-----1---1-|-----5-----5---5-| |---0---0-----0---|---3---3-----3---| |-2---------------|/5---------------| |-----------------|-----------------| |-----------------|-----------------|

654

repeat all

every grain of sand

F C | . . . | . . . |---------1-------|---------0-------| |-----1-----1---1-|-----1-----1---1-| |---2---2-----2---|---0---0-----0---| |-3---------------|-2---------------| |-----------------|-----------------| |-----------------|-----------------| [Repeat from beginning] F Dm/f F Dm/f In the time of my confession, in the hour of my deepest need F Dm/f C Csus4 C When the pool of tears beneath my feet flood every newborn seed F Dm/f F Dm/f There’s a dyin’ voice within me reaching out somewhere, F Dm/f C Csus4 C Toiling in the danger and in the morals of despair.

C C7 F C Don’t have the inclination to look back on any mistake, C C7 F C C11 Like Cain, I now behold this chain of events that I must break.

F Dm/f F Dm/f In the fury of the moment I can see the Master’s hand F Dm/f C F In every leaf that trembles, in every grain of sand.

Oh, the flowers of indulgence and the weeds of yesteryear, Like criminals, they have choked the breath of conscience and good cheer.

The sun beat down upon the steps of time to light the way To ease the pain of idleness and the memory of decay.

I gaze into the doorway of temptation’s angry flame And every time I pass that way I always hear my name.

Then onward in my journey I come to understand That every hair is numbered like every grain of sand.

I have gone from rags to riches in the sorrow of the night In the violence of a summer’s dream, in the chill of a wintry light, In the bitter dance of loneliness fading into space, In the broken mirror of innocence on each forgotten face.

I hear the ancient footsteps like the motion of the sea Sometimes I turn, there’s someone there, other times it’s only me.

I am hanging in the balance of a perfect finished plan *) Like every sparrow falling, like every grain of sand. ) On Shot of Love he sings "of the reality of man".

Shot of Love version The guitar part is played with a capo on the 8th fret (or with barre chords, which is more awkward, but which is probably how it is played).

Capo 8th fret (sounding key Eb major) 655

Shot of Love

G C D Dsus4 D | . . . x3 | . . . |-------3-----------0-----|-------------------2-----| |.----0---0-------1---1--.|-----3-----3-----3---3---| |---0-------0---0-------0-|---2-----2-----2-------2-| |-0-----------2-----------|-4-----5-----4-----------| |.-----------------------.|-------------------------| |-------------------------|-------------------------|

etc.

G C G C In the time of my confession, in the hour of my deepest need G C D Dsus4 D When the pool of tears beneath my feet flood every newborn seed G C G C There’s a dyin’ voice within me reaching out somewhere, G C D Dsus4 D Toiling in the danger and in the morals of despair.

D D7 G D Don’t have the inclination to look back on any mistake, D D7 G D C Like Cain, I now behold this chain of events that I must break.

G C G C In the fury of the moment I can see the Master’s hand G C D G In every leaf that trembles, in every grain of sand.

Finally the version that is the most playable on a single guitar, as some kind of common denominator (capo anywhere that fits in with the music; the F could/should be replaced by Fmaj7 (133210 or xx3210) except at “break”): C F c F In the time of my confession, in the hour of my deepest need C F G Gsus4 G When the pool of tears beneath my feet flood every newborn seed C F C F There’s a dyin’ voice within me reaching out somewhere, C F G Gsus4 G Toiling in the danger and in the morals of despair.

G G7 C G Don’t have the inclination to look back on any mistake, G G7 C G F Like Cain, I now behold this chain of events that I must break.

C F C F In the fury of the moment I can see the Master’s hand C F G C In every leaf that trembles, in every grain of sand.

656

25 Infidels

Recorded April–May, 1983 — Released October 27, 1983

658 662 664 666 668 671 673 675

Jokerman Sweetheart Like You Neighborhood Bully License to Kill Man Of Peace Union Sundown I and I Don’t Fall Apart on Me Tonight

Infidels

Jokerman Words and music Bob Dylan Released on Infidels (1983) Tabbed by Eyolf Østrem In the key of B[ major on the album, but played in A live, which is much more comfortable. the following version is with a capo on the first fret. The following chords for the first lines work quite well: A Amaj7 Bm/a E/a A/g# A/c#

x07650 x06650 x04430 (or x04432) x06450 4x222(0) x4222(0)

A Amaj7 Standing on the waters casting your bread Bm/a E/a A While the eyes of the idol with the iron head are glowing.

A Amaj7 Distant ships sailing into the mist, Bm/a E/a A You were born with a snake in both of your fists while a hurricane was blowing.

Bm E A Freedom just around the corner for you Bm E A D But with truth so far off, what good will it do?

E D Jokerman dance to the nightingale tune, A /g# F#m D Bird fly high by the light of the moon, A(/c#) D E A Oh, oh, oh, Jokerman.

So swiftly the sun sets in the sky, You rise up and say goodbye to no one.

Fools rush in where angels fear to tread, Both of their futures, so full of dread, you don’t show one.

Shedding off one more layer of skin, Keeping one step ahead of the persecutor within.

Jokerman dance to the nightingale tune, Bird fly high by the light of the moon, Oh, oh, oh, Jokerman.

You’re a man of the mountains, you can walk on the clouds, Manipulator of crowds, you’re a dream twister.

You’re going to Sodom and Gomorrah, But what do you care? Ain’t nobody there would want to marry your sister.

658

jokerman

Friend to the martyr, a friend to the woman of shame, You look into the fiery furnace, see the rich man without any name.

Jokerman dance to the nightingale tune, Bird fly high by the light of the moon, Oh, oh, oh, Jokerman.

Well, the Book of Leviticus and Deuteronomy, The law of the jungle and the sea are your only teachers.

In the smoke of the twilight on a milk-white steed, Michelangelo indeed could’ve carved out your features.

Resting in the fields, far from the turbulent space, Half asleep near the stars with a small dog licking your face.

Jokerman dance to the nightingale tune, Bird fly high by the light of the moon, Oh. oh. oh. Jokerman.

Well, the rifleman’s stalking the sick and the lame, Preacherman seeks the same, who’ll get there first is uncertain.

Nightsticks and water cannons, tear gas, padlocks, Molotov cocktails and rocks behind every curtain, False-hearted judges dying in the webs that they spin, Only a matter of time ’til night comes steppin’ in.

Jokerman dance to the nightingale tune, Bird fly high by the light of the moon, Oh, oh, oh, Jokerman.

It’s a shadowy world, skies are slippery gray, A woman just gave birth to a prince today and dressed him in scarlet.

He’ll put the priest in his pocket, put the blade to the heat, Take the motherless children off the street And place them at the feet of a harlot.

Oh, Jokerman, you know what he wants, Oh, Jokerman, you don’t show any response.

Jokerman dance to the nightingale tune, Bird fly high by the light of the moon, Oh, oh, oh, Jokerman.

The lyrics of the outtake version: Standing on the waters casting your bread While the eyes of the idol with the iron head are glowing.

Distant ships sailing into the mist, You were born with a snake in both of your fists while a hurricane was blowing.

Freedom just around the corner for you But with truth so far off, what good will it do?

Jokerman dance to the nightingale tune, Bird fly high by the light of the moon, Oh, oh, oh, Jokerman.

659

Infidels

So swiftly the sun sets in the sky, You rise up and say goodbye to no one.

No store-bought shirt for you on your back One of the women must sit in the shack and sew one.

Shedding off one more layer of skin, Keeping one step ahead of the persecutor within.

Jokerman dance to the nightingale tune, Bird fly high by the light of the moon, Oh, oh, oh, Jokerman.

You’re a man of the mountains, you can walk on the clouds, Manipulator of crowds, you’re a dream twister.

You’re going to Sodom and Gomorrah, But what do you care? Ain’t nobody there would want to marry your sister.

Scratching the world with a fine-tooth comb You’re a king among nations, you’re a stranger at home Jokerman dance to the nightingale tune, Bird fly high by the light of the moon, Oh, oh, oh, Jokerman.

Well, the Book of Leviticus and Deuteronomy, The law of the jungle and the sea are your only teachers.

No crystal ball do you need on your shelf Michelangelo himself could have carved out your features.

So drunk, standing in the middle of the street Directing traffic with a small dog at your feet.

Jokerman dance to the nightingale tune, Bird fly high by the light of the moon, Oh, oh, oh, Jokerman.

Well, the Preacherman talkin’ ’bout the deaf and the dumb and a world to come that’s already been predetermined.

Nightsticks and water cannons, tear gas, padlocks, Molotov cocktails and rocks can’t drown out your sermon.

You let the wicked walk right into a trap.

You give away all the good things that fall in your lap.

Jokerman dance to the nightingale tune, Bird fly high by the light of the moon, Oh, oh, oh, Jokerman.

It’s a shadowy world, skies are slippery gray, A woman just gave birth to a prince today and she’s dressed in scarlet.

He’ll turn priests into pimps that make old men bark Take a woman who could have been Joan of Arc And turn her into a harlot.

Oh, Jokerman, you know what he wants, Oh, Jokerman, you don’t show any response.

Jokerman dance to the nightingale tune, Bird fly high by the light of the moon, Oh, oh, oh, Jokerman.

660

jokerman

Another version I was never too happy with the single guitar version when I played it myself. Then, one day, on my way from work, I was humming Jokerman and Moonlight at the same time, and something clicked (to be played with two beats to a chord): Chords: Bbo Co A/c# D/a E+ A7/g E7-9 Bb G#+

x12020 x34242 x42220 x04232 022110 34222x 076760 688700 476500

or x4222x with half-barre

|: A . Bbo . Bm7 . E7 . :| A Bbo Bm7 Co Standing on the waters casting your bread A/c# /e F# Bm7 E7 A D/a A E+ While the eyes of the idol with the iron head are glowing.

A Bbo Bm7 Co Distant ships sailing into the mist, A/c# /e F# Bm7 E7 A You were born with a snake in both of your fists while a hurricane was blowing.

Bm /a-g#-f# E /f# /g /g# A D/a A Bbo Freedom just around the corner for you Bm /a -g#-f# E /f# /g /g# A /g# A7/g F#7 But with truth so far off, what good will it do?

D/a

A

Bbo

Bm7 E7-9 Jokerman dance to the nightingale tune, A G F# F#7 Bird fly high by the light of the moon, Bm7 Bb G#+ A Oh, oh, oh, Jokerman.

661

Infidels

Sweetheart Like You Words and music Bob Dylan Released on Infidels (1983) tabbed by Eyolf Østrem The song sounds in E major, and it can perfectly well be played with those keys, but on a single guitar it makes for a far more comfortable and rewarding experience to play it with a capo on the 4th fret. I seem to hear one such guitar in the mix too, although the main guitar(s) are obviously uncapoed.

Other advantages with the capoed version is that the descent at the end of the verses becomes playable, and you can also easily play the Fs (some of them, not all of them) as Fmaj7s.

The Dm at the end of the bridge could be realized in a number of ways. On the album it almost converts to a Fmaj7, when the organ gradually comes to the fore. A way to combine both is to play Dm9, e.g. x53550.

C C Am Well, the pressure’s down, the boss ain’t here, Am G F He gone North for a while C Am They say that vanity got the best of him Am G F But he sure left here in style.

Am Dm By the way, that’s a cute hat, Am Dm And that smile’s so hard to resist C G/b Am /g F what’s a sweetheart like you doin’ in a dump like this?

You know, I once knew a woman who looked like you, She wanted a whole man, not just a half, She used to call me sweet daddy when I was only a child, You kind of remind me of her when you laugh.

In order to deal in this game, got to make the queen disappear, It’s done with a flick of the wrist.

What’s a sweetheart like you doin’ in a dump like this?

You know, a woman like you should be at home, That’s where you belong, taking care of somebody nice Who don’t know how to do you wrong.

Just how much abuse will you be able to take?

Well, there’s no way to tell by that first kiss.

What’s a sweetheart like you doin’ in a dump like this?

G You know you can make a name for yourself, Am You can hear them tires squeal, F You could be known as the most beautiful woman

662

sweetheart like you

Dm Who ever crawled across cut glass to make a deal.

You know, news of you has come down the line Even before ya came in the door.

They say in your father’s house, there’s many mansions Each one of them got a fireproof floor.

Snap out of it, baby, people are jealous of you, They smile to your face, but behind your back they hiss.

What’s a sweetheart like you doin’ in a dump like this?

Got Got Got Got

to to to to

be an important person to be in here, honey, have done some evil deed, have your own harem when you come in the door, play your harp until your lips bleed.

They say that patriotism is the last refuge To which a scoundrel clings.

Steal a little and they throw you in jail, Steal a lot and they make you king.

There’s only one step down from here, baby, It’s called the land of permanent bliss.

What’s a sweetheart like you doin’ in a dump like this?

Here’s a version without the capo: E C#m Well, the pressure’s down, the boss ain’t here, B A He gone North for a while E C#m They say that vanity got the best of him C#m B A But he sure left here in style.

C#m F#m By the way, that’s a cute hat, C#m F#m And that smile’s so hard to resist E /d# /c# /b A(maj7) what’s a sweetheart like you doin’ in a dump like this? . . .

B You know you can make a name for yourself, C#m You can hear them tires squeal, A You could be known as the most beautiful woman F#m Who ever crawled across cut glass to make a deal.

663

Infidels

Neighborhood Bully Words and music Bob Dylan Released on Infidels (1983) Tabbed by Eyolf Østrem E D A E Well, the neighborhood bully, he’s just one man, D A E His enemies say he’s on their land.

G D A They got him outnumbered about a million to one, A E G D He got no place to escape to, no place to run.

A D A D A He’s the neighborhood bully.

D A

The neighborhood bully just lives to survive, He’s criticized and condemned for being alive.

He’s not supposed to fight back, he’s supposed to have thick skin, He’s supposed to lay down and die when his door is kicked in.

He’s the neighborhood bully.

The neighborhood bully been driven out of every land, He’s wandered the earth an exiled man.

Seen his family scattered, his people hounded and torn, He’s always on trial for just being born.

He’s the neighborhood bully.

Well, he knocked out a lynch mob, he was criticized, Old women condemned him, said he should apologize.

Then he destroyed a bomb factory, nobody was glad.

The bombs were meant for him.

He was supposed to feel bad.

He’s the neighborhood bully.

Well, the chances are against it and the odds are slim That he’ll live by the rules that the world makes for him, ’Cause there’s a noose at his neck and a gun at his back And a license to kill him is given out to every maniac.

He’s the neighborhood bully.

He got no allies to really speak of.

What he gets he must pay for, he don’t get it out of love.

He buys obsolete weapons and he won’t be denied But no one sends flesh and blood to fight by his side.

He’s the neighborhood bully.

Well, he’s surrounded by pacifists who all want peace, They pray for it nightly that the bloodshed must cease.

Now, they wouldn’t hurt a fly.

To hurt one they would weep.

They lay and they wait for this bully to fall asleep.

He’s the neighborhood bully.

664

neighborhood bully

Every empire that’s enslaved him is gone, Egypt and Rome, even the great Babylon.

He’s made a garden of paradise in the desert sand, In bed with nobody, under no one’s command.

He’s the neighborhood bully.

Now his holiest books have been trampled upon, No contract he signed was worth what it was written on.

He took the crumbs of the world and he turned it into wealth, Took sickness and disease and he turned it into health.

He’s the neighborhood bully.

What’s anybody indebted to him for?

Nothin’, they say.

He just likes to cause war.

Pride and prejudice and superstition indeed, They wait for this bully like a dog waits to feed.

He’s the neighborhood bully.

What has he done to wear so many scars?

Does he change the course of rivers?

Does he pollute the moon and stars?

Neighborhood bully, standing on the hill, Running out the clock, time standing still, Neighborhood bully.

665

Infidels

License to Kill Words and music Bob Dylan Released on Infidels (1983) and in a live version on Real Live (1984) Tabbed by Eyolf Østrem Another song from this album in an awkward key, which – again – is usually played in a much more pleasant key live. I therefore dare yet another capoed rendition – this time on the 6th fret. It isn’t quite ideal with a capo that far up, but I do hear one guitar that only sounds high up on the neck on the recording too.

The version on Real Live is basically the same as the album version (or in the corresponding key: F] major).

C Am G C Man thinks ’cause he rules the earth he can do with it as he please C Am G And if things don’t change soon, he will.

F C Oh, man has invented his doom, F First step was touching the moon.

Am /g F Am /g F Now, there’s a woman on my block, Am /g F Am /g F She just sit there as the night grows still.

C G C Csus4 C She say who gonna take away his license to kill?

Now, they take him and they teach him and they groom him for life And they set him on a path where he’s bound to get ill, Then they bury him with stars, Sell his body like they do used cars.

Now, there’s a woman on my block, She just sit there facin’ the hill.

She say who gonna take away his license to kill?

Now, he’s hell-bent for destruction, he’s afraid and confused, And his brain has been mismanaged with great skill.

All he believes are his eyes And his eyes, they just tell him lies.

But there’s a woman on my block, Sitting there in a cold chill.

She say who gonna take away his license to kill?

Am Ya may be a noisemaker, spirit maker, C Heartbreaker, backbreaker, Dm C Leave no stone unturned.

666

license to kill

Am May be an actor in a plot, C That might be all that you got Dm G ’Til your error you clearly learn.

Now he worships at an altar of a stagnant pool And when he sees his reflection, he’s fulfilled.

Oh, man is opposed to fair play, He wants it all and he wants it his way.

Now, there’s a woman on my block, She just sit there as the night grows still.

She say who gonna take away his license to kill?

667

Infidels

Man Of Peace Words and music Bob Dylan Released on Infidels (1983) Tabbed by Eyolf Østrem Play with the chords below, or put a capo on the 1st fret and use the chords A, D, and E. Background riff (intro is the first line few times around): Bb : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------| |-----3-------3---|-----------------|-----3-------3---|-----------------| |-----3-------3---|-----------------|-----3-------3---|-----------------| |-----3-------3---|---------6-3-----|-----3-------3---|---3-6-3-6-3---3-| |-4h5----(5)------|-------------6---|-4h5-----5-------|-------------6---| |-----------------|-----------------|-----------------|-----------------| Look out your window, baby there’s a scene you’d like to catch : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------| |-----3-------3---|-----------------|-----3-------3---|-----------------| |-----3-------3---|-----------------|-----3-------3---|-----------------| |-----3-------3---|---------6-3-----|-----3-------3---|---3-6-3-6-3-----| |-4h5----(5)------|-------------6---|-4h5-----5-------|-------------4-5-| |-----------------|-----------------|-----------------|-----------------| The band is playing dixie, a man got his hand outstretched.

Eb : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------| |-------------4---|---4---4---4-----|-------------4---|------4---6------| |-----3---6-------|-----6-------6-3-|-----3---6-------|--6--------------| |-4h5-------------|-----------------|-4h5-------------|-----------------| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| Could be the Fuhrer, Could be the local priest.

Bb : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------| |-----3-------3---|-----------------|-----3-------3---|-----------------| |-----3-------3---|-----------------|-----3-------3---|-----------------| |-----3-------3---|---------6-3-----|-----3-------3---|---3-6-3-6-3---3-| |-4h5----(5)------|-------------6---|-4h5-----5-------|-------------6---| |-----------------|-----------------|-----------------|-----------------| You know

668

man of peace

F : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------| |-------------6---|-----------------|-------------6---|-----------------| |-----5---8-------|-----8-5-8-5-8-5-|-----5---8-------|-----8-5-8-5-----| |-6h7-------------|-----------------|-6h7-------------|-------------7---| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| some - times Sa - tan comes as a man of peace. : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------| |-----3-------3---|-----------------|-----3-3-----3---|-----3-3---------| |-----3-------3---|-----------------|-----3-3-----3---|-----3-3---------| |-----3-------3---|-----3-6---6-3---|-----3-3-----3---|-----3-3---3---3-| |-4h5----(5)------|-----------------|-4h5-----4h5-----|-------------6---| |-----------------|-----------------|-----------------|-----------------| Bb Look out your window, baby, there’s a scene you’d like to catch, The band is playing "Dixie," a man got his hand outstretched.

Eb Bb Could be the Fuhrer, Could be the local priest.

F Bb You know sometimes Satan comes as a man of peace.

He got a sweet gift of gab, he got a harmonious tongue, He knows every song of love that ever has been sung.

Good intentions can be evil, Both hands can be full of grease.

You know that sometimes Satan comes as a man of peace.

Well, first he’s in the background, then he’s in the front, Both eyes are looking like they’re on a rabbit hunt.

Nobody can see through him, No, not even the Chief of Police.

You know that sometimes Satan comes as a man of peace.

Well, he catch you when you’re hoping for a glimpse of the sun, Catch you when your troubles feel like they weigh a ton.

He could be standing next to you, The person that you’d notice least.

I hear that sometimes Satan comes as a man of peace.

Well, he can be fascinating, he can be dull, He can ride down Niagara Falls in the barrels of your skull.

I can smell something cooking, I can tell there’s going to be a feast.

You know that sometimes Satan comes as a man of peace.

He’s a great humanitarian, he’s a great philanthropist, He knows just where to touch you, honey, and how you like to be kissed.

He’ll put both his arms around you, You can feel the tender touch of the beast.

You know that sometimes Satan comes as a man of peace.

669

Infidels

Well, the howling wolf will howl tonight, the king snake will crawl, Trees that’ve stood for a thousand years suddenly will fall.

Wanna get married? Do it now, Tomorrow all activity will cease.

You know that sometimes Satan comes as a man of peace.

Somewhere Mama’s weeping for her blue-eyed boy, She’s holding them little white shoes and that little broken toy And he’s following a star, The same one them three men followed from the East.

I hear that sometimes Satan comes as a man of peace.

670

union sundown

Union Sundown Words and music Bob Dylan Released on Infidels (1983) Tabbed by Eyolf Østrem A A G Well, my shoes, they come from Singapore, A My flashlight’s from Taiwan, A G My tablecloth’s from Malaysia, A My belt buckle’s from the Amazon.

A G You know, this shirt I wear comes from the Philippines A And the car I drive is a Chevrolet, A G It was put together down in Argentina A By a guy makin’ thirty cents a day.

D A Well, it’s sundown on the union D A And what’s made in the U.S.A. D A Sure was a good idea D E ’Til greed got in the way.

A

Well, this silk dress is from Hong Kong And the pearls are from Japan.

Well, the dog collar’s from India And the flower pot’s from Pakistan.

All the furniture, it says "Made in Brazil" Where a woman, she slaved for sure Bringin’ home thirty cents a day to a family of twelve, You know, that’s a lot of money to her.

Well, it’s And what’s Sure was a ’Til greed

sundown on the union made in the U.S.A. good idea got in the way.

Well, you know, lots of people complainin’ that there is no work.

I say, "Why you say that for When nothin’ you got is U.S.-made?"

They don’t make nothin’ here no more, You know, capitalism is above the law.

It say, "It don’t count ’less it sells."

When it costs too much to build it at home You just build it cheaper someplace else.

671

Infidels

Well, it’s And what’s Sure was a ’Til greed

sundown on the union made in the U.S.A. good idea got in the way.

Well, the job that you used to have, They gave it to somebody down in El Salvador.

The unions are big business, friend, And they’re goin’ out like a dinosaur.

They used to grow food in Kansas Now they want to grow it on the moon and eat it raw.

I can see the day coming when even your home garden Is gonna be against the law.

Well, it’s And what’s Sure was a ’Til greed

sundown on the union made in the U.S.A. good idea got in the way.

Democracy don’t rule the world, You’d better get that in your head.

This world is ruled by violence But I guess that’s better left unsaid.

From Broadway to the Milky Way, That’s a lot of territory indeed And a man’s gonna do what he has to do When he’s got a hungry mouth to feed.

Well, it’s And what’s Sure was a ’Til greed

672

sundown on the union made in the U.S.A. good idea got in the way.

i and i

I and I Words and music Bob Dylan Released on Infidels (1983) Tabbed by Eyolf Østrem

Am C G Been so long since a strange woman has slept in my bed.

D Am Look how sweet she sleeps, how free must be her dreams.

Am C G In another lifetime she must have owned the world, or been faithfully wed D Am To some righteous king who wrote psalms beside moonlit streams.

Am I and I G D Am In creation where one’s nature neither honors nor forgives.

Am I and I G D Am One says to the other, no man sees my face and lives.

Think I’ll go out and go for a walk, Not much happenin’ here, nothin’ ever does.

Besides, if she wakes up now, she’ll just want me to talk I got nothin’ to say, ’specially about whatever was.

I and I In creation where one’s nature neither honors nor forgives.

I and I One says to the other, no man sees my face and lives.

Took an untrodden path once, where the swift don’t win the race, It goes to the worthy, who can divide the word of truth.

Took a stranger to teach me, to look into justice’s beautiful face And to see an eye for an eye and a tooth for a tooth.

I and I In creation where one’s nature neither honors nor forgives.

I and I One says to the other, no man sees my face and lives.

Outside of two men on a train platform there’s nobody in sight, They’re waiting for spring to come, smoking down the track.

The world could come to an end tonight, but that’s all right.

She should still be there sleepin’ when I get back.

I and I In creation where one’s nature neither honors nor forgives.

I and I One says to the other, no man sees my face and lives.

Noontime, and I’m still pushin’ myself along the road, the darkest part,

673

Infidels

Into the narrow lanes, I can’t stumble or stay put.

Someone else is speakin’ with my mouth, but I’m listening only to my heart.

I’ve made shoes for everyone, even you, while I still go barefoot.

I and I In creation where one’s nature neither honors nor forgives.

I and I One says to the other, no man sees my face and lives.

Real Live version Bm A Been so long since a strange woman has slept in my bed.

E Bm Look how sweet she sleeps, how free must be her dreams.

Bm A In another lifetime she must have owned the world, or been faithfully wed E Bm To some righteous king who wrote psalms beside moonlit streams.

Bm I and I A E Bm In creation where one’s nature neither honors nor forgives.

Bm I and I A E Bm One says to the other, no man sees my face and lives.

674

don’t fall apart on me tonight

Don’t Fall Apart on Me Tonight Words and music Bob Dylan Released on Infidels (1983) Tabbed by Eyolf Østrem The G/b can be played x20003, or just as well (or better) x20010, and the Fs could be Fmaj7.

The long Gs at the end of the verses and (especially) the refrain are so filled with notes that giving an exact representation would be both impossible and futile. The progression C/g – G – F/g is close enough.

G11 = 3x3211

C . G/b . F(maj7) . . . x4 C G/b F Just a minute before you leave, girl, C G/b F Just a minute before you touch the door.

C G/b F What is it that you’re trying to achieve, girl?

C G/b F Do you think we can talk about it some more?

Dm (Am) You know, the streets are filled with vipers Dm (Am) Who’ve lost all ray of hope, C/g You know, it ain’t even safe no more G In the palace of the Pope.

C G/b F Don’t fall apart on me tonight, C G/b F I just don’t think that I could handle it.

C G/b F Don’t fall apart on me tonight, Dm Em Yesterday’s just a memory, F C/g Tomorrow is never what it’s supposed to be G F/g And I need you, yeah.

Come over here from over there, girl, Sit down here. You can have my chair.

I can’t see us goin’ anywhere, girl.

The only place open is a thousand miles away and I can’t take you there.

I wish I’d have been a doctor, Maybe I’d have saved some life that had been lost, Maybe I’d have done some good in the world ’Stead of burning every bridge I crossed.

Don’t fall apart on me tonight, I just don’t think that I could handle it.

675

Infidels

Don’t fall apart on me tonight, Yesterday’s just a memory, Tomorrow is never what it’s supposed to be And I need you, oh, yeah.

I ain’t too good at conversation, girl, So you might not know exactly how I feel, But if I could, I’d bring you to the mountaintop, girl, And build you a house made out of stainless steel.

But it’s like I’m stuck inside a painting That’s hanging in the Louvre, My throat start to tickle and my nose itches But I know that I can’t move.

Don’t fall apart on me tonight, I just don’t think that I could handle it.

Don’t fall apart on me tonight, Yesterday’s gone but the past lives on, Tomorrow’s just one step beyond And I need you, oh, yeah.

Bb F Who are these people who are walking towards you?

C Do you know them or will there be a fight?

Bb F With their humorless smiles so easy to see through, C Can they tell you what’s wrong from what’s right?

F C Do you remember St. James Street F C Where you blew Jackie P.’s mind?

F C You were so fine, Clark Gable would have fell at your feet Bb F G11 G And laid his life on the line.

Let’s try to get beneath the surface waste, girl, No more booby traps and bombs, No more decadence and charm, No more affection that’s misplaced, girl, No more mudcake creatures lying in your arms.

What about that millionaire with the drumsticks in his pants?

He looked so baffled and so bewildered When he played and we didn’t dance.

Don’t fall apart on me tonight, I just don’t think that I could handle it.

Don’t fall apart on me tonight, Yesterday’s just a memory, Tomorrow is never what it’s supposed to be And I need you, yeah.

676

26

Real Live

Recorded live July 5–8, 1984 — Released: November 29, 1984

,!216 ,!161 ,!673 ,!666 ,!150 ,!428 ,!62 ,!208 ,!56 ,!198

Highway 61 Revisited Maggie’s Farm I and I License to Kill It Ain’t Me, Babe Tangled Up in Blue Masters of War Ballad of a Thin Man Girl of the North Country Tombstone Blues

27 Empire Burlesque Recorded July 1984–March 1985 — Released June 8, 1995

680 685 687 689 691 692 693 694 696 698

Tight Connection to My Heart (Has Anybody Seen My Love) Seeing the Real You at Last I’ll Remember You Clean-Cut Kid Never Gonna Be the Same Again Trust Yourself Emotionally Yours When The Night Comes Falling From The Sky Something’s Burning, Baby Dark Eyes

Empire Burlesque

Tight Connection to My Heart (Has Anybody Seen My Love) Words and music Bob Dylan (although half of the words are borrowed from the Maltese Falcon) First recorded during the Infidels sessions as “Someone’s Got a Hold of My Heart” and eventually released on The Bootleg Series 1-3 (1991) Re-recorded for Empire Burlesque (1985). Played live i.a. in a stunning version at the Supper Club (1993) Tabbed by Eyolf Østrem

Empire Burlesque version Tricky chords to get smoothly on a single guitar. The best alternative is probably to play the album version with a capo on the 2nd fret.

You You You You

got got got got

a a a a

B Tight Tight Tight Tight

connection connection connection connection

to to to to

my my my my

E heart heart heart heart

B Well, I had to move fast D#m And I couldn’t with you around my neck.

G#m I said I’d send for you and I did E What did you expect?

B My hands are sweating D#m E And we haven’t even started yet.

B I’ll go along with this charade D#m Until I can think my way out.

G#m I know it was all a big joke E Whatever it was about.

B Someday maybe D#m E I’ll remember to forget.

C#m I’m gonna get my coat, I feel the breath of a storm.

There’s something I’ve got to do tonight, F# You go inside and stay warm.

B E Has anybody seen my love,

680

tight connection to my heart (has anybody seen my love)

B E Has anybody seen my love, B E Has anybody seen my love.

C#m D#m E /f I don’t know, F#sus4 B Has anybody seen my love?

You want to talk to me, Go ahead and talk.

Whatever you got to say to me Won’t come as any shock.

I must be guilty of something, You just whisper it into my ear.

Madame Butterfly She lulled me to sleep, In a town without pity Where the water runs deep.

She said, "Be easy, baby, There ain’t nothin’ worth stealin’ in here."

You’re the one I’ve been looking for, You’re the one that’s got the key.

But I can’t figure out whether I’m too good for you Or you’re too good for me.

Has anybody seen my love, Has anybody seen my love, Has anybody seen my love.

I don’t know, Has anybody seen my love?

Well, they’re not showing any lights tonight And there’s no moon.

There’s just a hot-blooded singer Singing "Memphis in June," While they’re beatin’ the devil out of a guy Who’s wearing a powder-blue wig.

Later he’ll be shot For resisting arrest, I can still hear his voice crying In the wilderness.

What looks large from a distance, Close up ain’t never that big.

Never could learn to drink that blood And call it wine, Never could learn to hold you, love, And call you mine.

With capo on the 2nd fret: A Well, I had to move fast C#m And I couldn’t with you around my neck.

F#m I said I’d send for you and I did

681

Empire Burlesque

D What did you expect?

A My hands are sweating C#m D And we haven’t even started yet.

A I’ll go along with this charade C#m Until I can think my way out.

F#m I know it was all a big joke D Whatever it was about.

A Someday maybe C#m D I’ll remember to forget.

Bm I’m gonna get my coat, I feel the breath of a storm.

There’s something I’ve got to do tonight, E You go inside and stay warm.

A D Has anybody seen my love, A D Has anybody seen my love, A D Has anybody seen my love.

Bm C#m D /d# I don’t know, Esus4 A Has anybody seen my love?

Supper Club version Intro: F Bb6 F Bb (or Fsus4 xx3311) | . . . | . . . |---56--33--111---|-1--1--1-----------|---66--33--111---|-3--3--3-----------|---55--33--222---|-3--3--3------------ 4 times |-----------------|-------------------|-----------------|-------------------|-----------------|-------------------F Well, I had to move fast Am And I couldn’t with you around my neck.

682

tight connection to my heart (has anybody seen my love)

Dm I said I’d send for you and I did Bb6 What did you expect?

F My hands are sweating Am Bb And we haven’t even started yet.

F I’ll go along with the charade Am Until I can think my way out.

Dm I know it was all a big joke Bb Whatever it was about.

F Someday maybe Am Bb I’ll remember to forget.

Gm Gmsus4 I’m gonna get my coat, Gm Gmsus4 I feel the touch of a storm.

Bb There’s something I’ve got to do tonight, C11 You go inside and stay warm.

F Bb Has anybody seen my love, F Bb Has anybody seen my love, F Bb Has anybody seen my love.

Gm Am Bb I don’t know, Bdim C11 F Has anybody seen my love?

Bootleg Series version |B . . F# E . . . | x4 B D#m They say "eat, drink and be merry, Take the bull by the horns."

G#m E I keep seeing visions of you, a lily among thorns B D#m E (B E) Everything looks a little far away to me B D#m Gettin’ harder and harder to recognize the trap G#m E Too much information about nothin’, Too much educated rap B D#m E just like you told me, It’s just like you said it would be

683

Empire Burlesque

C#m The moon goin’ up like wildfire I feel the breath of a storm.

C# Something I got to do tonight F#sus4 F# You go inside and stay warm.

B F# E Someone’s got a hold of my heart B F# E Someone’s got a hold of my heart B F# E Someone’s got a hold of my heart C#m D#m E /f You, you, you, Yeah, you got a hold of my heart Just got back from a city of powder blue skies Everybody thinks with their stomach There’s plenty of spies Every street is crooked, they just wind around till they disappear Madame Butterfly, she lulls me to sleep Like an ancient river So wide and deep She said, "Be easy, baby, ain’t nothin’ worth stealin’ here" You’re the one I’ve been waitin’ for You’re the one I desire But you must first realize I’m not another man for hire Someone’s got a hold of my heart Someone’s got a hold of my heart Someone’s got a hold of my heart You, you, you, you Yeah, you got a hold of my heart I hear the hot-blooded singer On the bandstand croon September Song, Memphis in June While they’re beating the devil out of a guy who’s wearing a flaming red wig I been to Babylon I gotta confess I can still hear that voice crying in the wilderness What looks large from a distance, close up is never that big Never could learn to drink that blood and call it wine Never could learn to look at your face and call it mine.

Someone’s got a hold of my heart Someone’s got a hold of my heart Someone’s got a hold of my heart YouYeah, you got a hold of my heart

684

seeing the real you at last

Seeing the Real You at Last Words and music Bob Dylan Released on Empire Burlesque (1985) Tabbed by Eyolf Østrem I’ve used the chords “D’‘ and E for the recurrent riff, mainly to have something to call it. The “D’’ could be called “A’‘ or “B’’ too.

Riff: "D" E : . . . : . . . |-----------------|-----------------| |-----------------|-----------------| |-----------------|-----------------| |---------------0-|-2---------------| |-0-2-2-0-2-------|-----------------| |-----------------|---0-------------|

[Intro: 4x riff] "D" E Well, I thought that the rain would cool things down "D" E But it looks like it don’t.

"D" E I’d like to get you to change your mind "D" E But it looks like you won’t.

A From now on I’ll be busy, E Ain’t goin’ nowhere fast.

B I’m just glad it’s over D A [riff] And I’m seeing the real you at last.

Well, didn’t I risk my neck for you, Didn’t I take chances?

Didn’t I rise above it all for you, The most unfortunate circumstances?

Well, I have had some rotten nights, Didn’t think that they would pass.

I’m just thankful and grateful To be seeing the real you at last.

I’m hungry and I’m irritable And I’m tired of this bag of tricks.

At one time there was nothing wrong with me That you could not fix.

Well, I sailed through the storm Strapped to the mast, But the time has come

685

Empire Burlesque

And I’m seeing the real you at last.

When I met you, baby, You didn’t show no visible scars.

You could ride like Annie Oakley, You could shoot like Belle Starr.

Well, I don’t mind a reasonable amount of trouble, Trouble always comes to pass But all I care about now Is that I’m seeing the real you at last.

Well, I’m gonna quit this baby talk now, I guess I should have known.

I got troubles, I think maybe you got troubles, I think maybe we’d better leave each other alone.

Whatever you gonna do, Please do it fast.

I’m still trying to get used to Seeing the real you at last.

686

i’ll remember you

I’ll Remember You Words and music Bob Dylan Released on Empire Burlesque (1985) Tabbed by Eyolf Østrem

C F/C C F/C C F I’ll remember you F/g C When I’ve forgotten all the rest, F You to me were true, F/g C You to me were the best.

C When there is no more, C7 You cut to the core F C/E Dm /e F Quicker than anyone I knew.

C When I’m all alone F In the great unknown, F/g C I’ll remember you.

I’ll remember you At the end of the trail, I had so much left to do, I had so little time to fail.

There’s some people that You don’t forget, Even though you’ve only seen ’m One time or two.

When the roses fade And I’m in the shade I’ll remember you.

Bb F C Didn’t I, didn’t I try to love you?

Bb F C Didn’t I, didn’t I try to care?

Bb F C Didn’t I sleep, didn’t I weep beside you Dm C/E F F/g With the rain blowing in your hair?

I’ll remember you When the wind blows through the piney wood.

It was you who came right through, It was you who understood.

Though I’d never say

687

Empire Burlesque

That I done it the way That youâ&#x20AC;&#x2122;d have liked me to.

In the end, My dear sweet friend, Iâ&#x20AC;&#x2122;ll remember you.

688

clean-cut kid

Clean-Cut Kid Words and music Bob Dylan Released on Empire Burlesque (1985) Tabbed by Eyolf Østrem

D7 Everybody wants to know why he couldn’t adjust Adjust to what, a dream that bust?

A He was a clean-cut kid D7 (n.c.)

But they made a killer out of him, That’s what they did They said what’s up is down, they said what isn’t is They put ideas in his head he thought were his He was a clean-cut kid But they made a killer out of him, That’s what they did He was on the baseball team, he was in the marching band When he was ten years old he had a watermelon stand He was a clean-cut kid But they made a killer out of him, That’s what they did He went to church on Sunday, he was a Boy Scout For his friends he would turn his pockets inside out He was a clean-cut kid But they made a killer out of him, That’s what they did G They said, "Listen boy, you’re just a pup" D7 They sent him to a napalm health spa to shape up E They gave him dope to smoke, drinks and pills, A A jeep to drive, blood to spill They said "Congratulations, you got what it takes" They sent him back into the rat race without any brakes He was a clean-cut kid But they made a killer out of him, That’s what they did He bought the American dream but it put him in debt The only game he could play was Russian roulette He drank Coca-Cola, he was eating Wonder Bread, Ate Burger Kings, he was well fed

689

Empire Burlesque

He went to Hollywood to see Peter O’Toole He stole a Rolls Royce and drove it in a swimming pool They took a clean-cut kid And they made a killer out of him, That’s what they did He could’ve sold insurance, owned a restaurant or bar Could’ve been an accountant or a tennis star He was wearing boxing gloves, took a dive one day Off the Golden Gate Bridge into China Bay His mama walks the floor, his daddy weeps and moans They gotta sleep together in a home they don’t own They took a clean-cut kid And they made a killer out of him, That’s what they did Well, everybody’s asking why he couldn’t adjust All he ever wanted was somebody to trust They took his head and turned it inside out He never did know what it was all about He had a steady job, he joined the choir He never did plan to walk the high wire They took a clean-cut kid And they made a killer out of him, That’s what they did

690

never gonna be the same again

Never Gonna Be the Same Again Words and music Bob Dylan Released on Empire Burlesque (1985) Tabbed by Eyolf Østrem Best played with a capo on the 1st fret. The As should be embellished with Asus4s and Asus2s (x02200) following the melody. The D/a could also be replaced by Asus4s, and the F6 (133231) could be replaced with a Dm/f (xx3231).

A Asus4

A Asus4

A Now you’re here beside me, baby, D/a E You’re a living dream.

A And every time you get this close D/a E It makes me want to scream.

F6 You touched me and you knew A D That I was warm for you and then, E A I ain’t never gonna be the same again.

Sorry if I hurt you, baby, Sorry if I did.

Sorry if I touched the place Where your secrets are hid.

But you meant more than everything, And I could not pretend, I ain’t never gonna be the same again.

F#m C#m You give me something to think about, baby, Bm A Every time I see ya.

G# C#m Don’t worry, baby, I don’t mind leaving, Bm E I’d just like it to be my idea.

You taught me how to love you, baby, You taught me, oh, so well.

Now, I can’t go back to what was, baby, I can’t unring the bell.

You took my reality And cast it to the wind And I ain’t never gonna be the same again.

691

Empire Burlesque

Trust Yourself Words and music Bob Dylan Released on Empire Burlesque (1985) Tabbed by Eyolf Østrem A quite monotonous song. . . Liven up the sustained A by A/g (3x222x) or A/c (x3222x) chords or something like that. Great lyrics. Follow them.

A Trust yourself, Trust yourself to do the things that only you know best.

Trust yourself, Trust yourself to do what’s right and not be second-guessed.

Don’t trust me to show you beauty When beauty may only turn to rust.

E A If you need somebody you can trust, trust yourself.

Trust yourself, Trust yourself to know the way that will prove true in the end.

Trust yourself, Trust yourself to find the path where there is no if and when.

Don’t trust me to show you the truth When the truth may only be ashes and dust.

If you want somebody you can trust, trust yourself.

D Well, you’re on your own, you always were, A In a land of wolves and thieves.

D Don’t put your hope in ungodly man E Or be a slave to what somebody else believes.

Trust yourself And you won’t be disappointed when vain people let you down.

Trust yourself And look not for answers where no answers can be found.

Don’t trust me to show you love When my love may be only lust.

If you want somebody you can trust, trust yourself.

692

emotionally yours

Emotionally Yours Words and music Bob Dylan Released on Empire Burlesque (1985) Tabbed by Eyolf Østrem The C/b is best played x20010 (to get the d in the chord), and to produce both the bass descent and the parallel e – d – c, you’ll have to play the following Am 5322xx – It’s quite nice that way, actually.

The G at the end of the verse could be embellished somehow – with a Gsus4 or a G11 or something.

The F at “behind closed doors” has a g in it, which you will get by playing C=x32013, F= xx3213: G=320003.

The Fmaj9 in the bridge can be played both Fmaj7 (133210) or F9 (xx3213).

C . /b . Am . F . C . /b . F . . . x2 C /b Am F C /b F (G) Come baby, find me, come baby, remind me of where I once begun.

C /b Am F C /b F (G) Come baby, show me, show me you know me, tell me you’re the one.

Am F C F C F C G I could be learning, you could be yearning to see behind closed doors.

C /b Am F C G C But I will always be emotionally yours.

Come baby, Come baby, I could be And I will

rock me, come baby, lock me into the shadows of your heart. teach me, come baby, reach me, let the music start. dreaming but I keep believing you’re the one I’m livin’ for. always be emotionally yours.

Fmaj9 C It’s like my whole life never happened, Fmaj9 C When I see you, it’s as if I never had a thought.

E Am I know this dream, it might be crazy, D7 G11 But it’s the only one I’ve got.

Come baby, Come baby, I could be But I will

shake me, come baby, take me, I would be satisfied. hold me, come baby, help me, my arms are open wide. unraveling wherever I’m traveling, even to foreign shores. always be emotionally yours.

693

Empire Burlesque

When The Night Comes Falling From The Sky Words and music: Bob Dylan Released on Empire Burlesque (1985) and in an early (and much better!) version on The Bootleg Series 1-3 Tabbed by Eyolf Østrem

Empire Burlesque version Capo 1st fret (Sounding key B[ minor) Am F Am F Am F Am F Am (F) Look out across the fields, see me returning, F Smoke is in your eye, you draw a smile.

Am From the fireplace where my letters to you are burning, C E You’ve had time to think about it for a while.

Am Well, I’ve walked two hundred miles, now look me over, F It’s the end of the chase and the moon is high.

It won’t matter who loves who G Am F You’ll love me or I’ll love you Am F When the night comes falling Am F When the night comes falling Am F Am F When the night comes falling from the sky.

I can see through your walls and I know you’re hurting, Sorrow covers you up like a cape.

Only yesterday I know that you’ve been flirting With disaster that you managed to escape.

I can’t provide for you no easy answers, Who are you that I should have to he?

You’ll know all about it, love, It’ll fit you like a glove When the night comes falling from the sky.

I can hear your trembling heart beat like a river, You must have been protecting someone last time I called.

I’ve never asked you for nothing you couldn’t deliver, I’ve never asked you to set yourself up for a fall.

I saw thousands who could have overcome the darkness, For the love of a lousy buck, I’ve watched them die.

Stick around, baby, we’re not through, Don’t look for me, I’ll see you When the night comes falling from the sky.

694

when the night comes falling from the sky

In your teardrops, I can see my own reflection, It was on the northern border of Texas where I crossed the line.

I don’t want to be a fool starving for affection, I don’t want to drown in someone else’s wine.

For all eternity I think I will remember That icy wind that’s howling in your eye.

You will seek me and you’ll find me In the wasteland of your mind When the night comes falling from the sky.

Well, I sent you my feelings in a letter But you were gambling for support.

This time tomorrow I’ll know you better When my memory is not so short.

This time I’m asking for freedom, from a world which you deny. and you’ll give it to me now, I’ll take it anyhow When the night comes falling from the sky.

“Bootleg series 1-3” version Capo 1st fret (sounding key A[ major) G C/G G C/G G C/G G Look out across the fields, see me returning, C Smoke is in your eye, you draw a smile.

G From the fireplace where my letters to you are burning, A D C You’ve had time to think about it for a while.

G C/G G Well, I’ve walked two hundred miles, now look me over, C It’s the end of the chase and the moon is high.

It won’t matter who loves who G Em You’ll love me or I’ll love you G D When the night comes falling G from the sky.

695

Empire Burlesque

Something’s Burning, Baby Words and music Bob Dylan Released on Empire Burlesque (1985) Tabbed by Jeffrey Kokosinski

E A E Something is burning, baby, are you aware?

E A E Something is the matter, baby, there’s smoke in your hair E A E Are you still my friend, baby, show me a sign E A E Is the love in your heart for me turning blind?

You’ve been avoiding the main streets for a long, long while The truth that I’m seeking is in your missing file What’s your position, baby, what’s going on?

Why is the light in your eyes nearly gone?

I know everything about this place, or so it seems Am I no longer a part of your plans or your dreams?

Well, it is so obvious that something has changed What’s happening, baby, to make you act so strange?

Something is burning, baby, here’s what I say Even the bloodhounds of London couldn’t find you today I see the shadow of a man, baby, makin’ you blue Who is he, baby, and what’s he to you?

We’ve reached the edge of the road, baby, where the pasture begins Where charity is supposed to cover up a multitude of sins But where do you live, baby, and where is the light?

Why are your eyes just staring off in the night?

E A E I can feel it in the night in the night in the night when I think of you E A E I can feel it in the light in the light in the light and it’s got to be true E A E You can’t live by bread alone, you won’t be satisfied E A E You can’t roll away the stone if your hands are tied Got to start someplace, baby, can you explain?

Please don’t fade away on me, baby, like the midnight train Answer me, baby, a casual look will do Just what in the world has come over you?

I can feel it in the wind in the wind in the wind and it’s upside down I can feel it in the dust as I get off the bus on the outskirts of town I’ve had the Mexico City blues since the last hairpin curve I don’t wanna see you bleed, I know what you need but it ain’t what you deserve

696

E

something’s burning, baby

Something There’s a Ring down I believe

is burning, baby, something’s in flames man going ’round calling names when you’re ready, baby, I’m waiting for you in the impossible, you know that I do

697

Empire Burlesque

Dark Eyes Words and music Bob Dylan Released on Empire Burlesque (1985) Tabbed by Eyolf Østrem In Dylan behind closed doors, The recording sessions [1960-1994] Clinton Heylin says about the guitar playing on this song: Even after Dylan had written the song, the guitar part proved problematic as he repeatedly hit the wrong strings accidentally in the studio. With only three strings necessary for what is actually a rather trite melody, the other three strings were taped down, at which point Dylan finally got the song on tape (p.161).

This is complete nonsense, which more or less confirms my suspicion that Heylin hasn’t really listened carefully enough to the things he writes off. Dylan uses all six strings, hits “wrong” bass notes, but so consistently and clearly that it definitely is the way he wanted it to sound. It’s odd, though, with that open 4th string throughout most of the song.

What is special is that all the strings are tuned down one whole step, so that what is really a song in G major, is played as if in A major.

I’m not dead certain about all this – especially the choices of positions for the chords in the first measure (and corresponding). It sounds as if he plays it as written below, but the more natural thing would be to play -655 -454 -655. You decide. If you come up with a better solution, pleast let me know Chords (the roman numerals refer to the fret position): Most of these chords have a d in the bass; see tab for fingerings Av Eiv Eix

xx0655 (i.e. A/d) xx0454 or x7x454 x7999x

A Av E A D E A Av E A D A . : . . . : . . . : . . . : . . . |---0-|-----5---0---0---|-2-------0-------|-0---5---0---0---|(2)--------------| |---2-|-----5---0---2---|-3-------0-------|-2---5---0---2---|-3-------2-------| |---2-|-----6---1---2---|-2-------1-------|-2---6---1---2---|-2-------2-------| |-----|---0---0---0---0-|---0---------2---|-------0---0---0-|---0-0-----------| |-----|-0---------------|---------------0-|-----------------|-------0-------0-| |-----|-----------------|-------0---------|-----------------|-----------------| A Av E A D E A Av E A D A : . . . : . . . : . . . : . . . |-0---5---4---5---|-2-------0-------|-0---5---0---0---|-2-------0-------| |-2---5---5---5---|-3-------0-------|-2---5---0---2---|-3-------2-------| |-2---6---4---6---|-2-------1-------|-2---6---1---2---|-2---2---2-------| |---0---0---0---0-|---0-------2-----|-------0---0---0-|---0---0---------| |-----------------|---------------0-|-----------------|-----------------| |-----------------|-------0---------|-----------------|-----------------|

698

Eix Av Aix Av D Eiv Eiv Av Aix Av D Eiv : . . . : . . . : . . . : . . .

----|-----5---9---5---|-2-------4-------|-4---5---9---5---|-2-------4-------| ----|-9---5--10---5---|-3---3---5-------|-5---5--10---5---|-3---3---5-------| ----|-9---6---9---6---|-2-2-----4-------|-4---6---9---6---|-2-2-----4-------| ----|-9-----0---0---0-|-----------------|-------0---0---0-|-----------------| -/7-|-----------------|-------7-------7-|---0-------------|-------7---------| ----|-----------------|-----------------|-----------------|-----------------| I live in an - o-ther world where life and death are memorized A Av Eiv Av D E A Av Eiv Av D A Oh, the gentlemen are talking and the midnight moon is on the riverside, A Av Eiv Av D E A Av Eiv Av D A They’re drinking up and walking and it is time for me to slide.

Evii Av Aix Av D E Evii Av Aix Av D E I live in another world where life and death are memorized, A Av Eiv Av D E A Av Eiv Av D A Where the earth is strung with lovers’ pearls and all I see are dark eyes.

A cock is crowing far away and another soldier’s deep in prayer, Some mother’s child has gone astray, she can’t find him anywhere.

But I can hear another drum beating for the dead that rise, Whom nature’s beast fears as they come and all I see are dark eyes.

They tell me to be discreet for all intended purposes, They tell me revenge is sweet and from where they stand, I’m sure it is.

But I feel nothing for their game where beauty goes unrecognized, All I feel is heat and flame and all I see are dark eyes.

Oh, the French girl, she’s in paradise and a drunken man is at the wheel, Hunger pays a heavy price to the falling gods of speed and steel.

Oh, time is short and the days are sweet and passion rules the arrow that flies, A million faces at my feet but all I see are dark eyes.

699

28

Biograph Released: November 7, 1985

,!296 ,!38 ,!339 ,!287 ,!856 ,!94 ,!53 ,!62 ,!121 703 705 ,!198 ,!647 ,!255 ,!194 706 ,!156 ,!144

,!229 ,!654 ,!536 ,!177 ,!282 ,!150 ,!417 ,!482 ,!138 ,!447 708 ,!428 ,!190

Lay, Lady, Lay Baby, Let Me Follow You Down If Not for You I’ll Be Your Baby Tonight I’ll Keep It with Mine The Times They Are A-Changin’ Blowin’ in the Wind Masters of War The Lonesome Death of Hattie Carroll Percy’s Song Mixed Up Confusion Tombstone Blues The Groom’s Still Waiting at the Altar Most Likely You Go Your Way and I’ll Go Mine Like a Rolling Stone Lay Down Your Weary Tune Subterranean Homesick Blues I Don’t Believe You (She Acts Like We Never Have Met) Visions of Johanna Every Grain of Sand Quinn The Eskimo (The Mighty Quinn) Mr. Tambourine Man Dear Landlord It Ain’t Me, Babe You Angel You Million Dollar Bash To Ramona You’re a Big Girl Now Abandoned Love Tangled Up in Blue It’s All Over Now, Baby Blue

Biograph

711

702

712 ,!561 714

Can You Please Crawl Out Your Window?

Positively 4th Street Isis Jet Pilot

715 ,!474 721 722 ,!234 ,!640 ,!398 ,!247 ,!571 ,!590 ,!600 ,!606 ,!343 ,!860 ,!374 ,!276 ,!630 ,!410

Caribbean Wind Up to Me Baby, I’m in the Mood for You I Wanna Be Your Lover I Want You Heart of Mine On a Night Like This Just Like a Woman Romance in Durango Señor (Tales Of Yankee Power) Gotta Serve Somebody I Believe in You Time Passes Slowly I Shall Be Released Knockin’ on Heaven’s Door All Along the Watchtower Solid Rock Forever Young

percy’s song

Percy’s Song Words Bob Dylan, melody trad. (“The Wind and The Rain”, which is a variant of The Two Sisters) Recorded Oct 24, 1963 during the sessions for The Times They Are A-Changin’ and released on Biograph (1991) Tabbed by Eyolf Østrem Standard tuning, capo 2rd fret (sounding key D major) The general finger-picking pattern is found in the intro: : . . . : . . . : . . . : . . . |---------------0-|---------------0-|-----------------|-----------------| |-----1-----------|-----1-----------|-----1---------1-|-----------------| |-----0-----0-----|-----------0-----|-----------0-----|-----------------| |-----2-------2---|-----2-------2---|-----2-------2---|-----2-------2---| |-3---------------|-3---------------|-3---------------|-3---------------| |---------3-------|---------3-------|---------3-------|---------3-------| Bad . . .

The G-G6-G7 is usually played like this (drop the 1st string to do the hammer-ons): : . . . : . . . |-----------------|-----------------| |-----------0-----|---0-------0-----| |---------------0-|-------0-------0-| |-----0-------0h2-|-----2h3-----3---| |-----------------|-----------------| |-3-------3-------|-3-------3-------|

And the turn around Dm is played with the low E-string open, which of course clashes with the Dm, but which still can defended “musically” because of the bass line d-e-f-g: Dm /e /e /e F G : . . . : . . . : . . . : . |-----1---------1-|-----------------|-----------------|-----3--|-----------------|-----3---------1-|-----1-----------|--------|-----2-----2-----|-----2-----2-----|-----------2---0-|--------|-0-----------0---|-------------0---|-----3-------3---|-----0--|-----------------|-----------------|-----------------|--------|---------0-------|-0-------0-------|-1-------1-------|-3------Turn, turn, to the rain and the wind

Notice also how the melody can be picked out in the higher strings.

C F C Bad news, bad news come to me where I sleep, G G6 G7 G G6 G7 Turn, turn, turn again.

C F Sayin’ one of your friends is in trouble deep, Dm F G G6 G7 Turn, turn to the rain and the wind.

G

G6 G7

703

Biograph

Tell me the trouble, Tell once to my ear.

Joliet prison and ninety-nine years.

Oh what’s the charge of how this came to be?

Manslaughter in the highest of degree.

I sat down and wrote the best words I could write, Explaining to the judge I’d be there on Wednesday night.

Without a reply, I left by the moon, And was in his chambers by the next afternoon.

"Could ya tell me the facts?" I said without fear, "That a friend of mine would get ninety-nine years."

A crash on the highway flew the car to a field.

There was four persons killed and he was at the wheel.

But I knew him as good as I’m knowin’ myself, And he wouldn’t harm a life that belonged to someone else.

The judge spoke out of the side of his mouth, Sayin’, "The witness who saw, he left little doubt," That may be true, he’s got a sentence to serve, But ninety-nine years, he just don’t deserve.

Too late, too late, for his case it is sealed.

His sentence is passed and it cannot be repealed.

But he ain’t no criminal and his crime it is none.

What happened to him could happen to anyone.

And at that the judge jerked forward and his face it did freeze, Sayin’, "Could you kindly leave my office now, please," Well his eyes looked funny and I stood up so slow, With no other choice except for to go.

I walked down the hallway and I heard his door slam, I walked down the courthouse stairs and I did not understand.

And I played my guitar through the night to the day, Turn, turn, turn again.

And the only tune my guitar could play Was, "Oh the Cruel Rain And the Wind."

704

mixed up confusion

Mixed Up Confusion Words and music Bob Dylan Recorded Nov 1962 and released as a single (Dylan’s first!), then on Biograph (1985) Tabbed (phew. . . ) by Eyolf Østrem D7 I got mixed up confusion G Man, it’s a-killin’ me Well, there’s too many people And they’re all too hard to please Well, my hat’s in my hand Babe, I’m walkin’ down the line An’ I’m lookin’ for a woman Whose head’s mixed up like mine Well, my head’s full of questions My temp’rature’s risin’ fast Well, I’m lookin’ for some answers But I don’t know who to ask But I’m walkin’ and wonderin’ And my poor feet don’t ever stop Seein’ my reflection I’m hung over, hung down, hung up!

705

Biograph

Lay Down Your Weary Tune Words and music Bob Dylan Recorded Oct 24, 1963 during the sessions for The Times They Are a-Changin’, and released on Biograph (1985) Tabbed by Eyolf Østrem Capo 2nd fret (sounding key A major) The strumming is very square, and only with downstrokes.

D /c /b-a G C . . . : . . .

--2-----------|-3---3---3---3---|-0------3-----------|-0---0---0---0---|-1------2---2---0---|-0---0---0---0---|-0----- etc --0---0---0-0-|-0---0---0---0---|-2----------3---2-0-|-2---2(0)2---2(0)|-3------------------|-3---3(0)3---3(0)|-3----Lay down your wea ry tune . . .

D /c /b-a G C G Lay down your weary tune, lay down, Em D Lay down the song you strum, /c /b-a G D/a G C And rest yourself ’neath the strength of strings G D /c-b G . D No voice can hope to hum. /c /b-a G C G Struck by the sounds before the sun, I knew the night had gone.

The morning breeze like a bugle blew Against the drums of dawn.

Lay down your weary tune, lay down, Lay down the song you strum, And rest yourself ’neath the strength of strings No voice can hope to hum.

The ocean wild like an organ played, The seaweed’s wove its strands.

The crashin’ waves like cymbals clashed Against the rocks and sands.

Lay down your weary tune, lay down, Lay down the song you strum, And rest yourself ’neath the strength of strings No voice can hope to hum.

I stood unwound beneath the skies And clouds unbound by laws.

The cryin’ rain like a trumpet sang And asked for no applause.

Lay down your weary tune, lay down,

706

lay down your weary tune

Lay down the song you strum, And rest yourself ’neath the strength of strings No voice can hope to hum.

The last of leaves fell from the trees And clung to a new love’s breast.

The branches bare like a banjo played To the winds that listened best.

I gazed down in the river’s mirror And watched its winding strum.

The water smooth ran like a hymn And like a harp did hum.

Lay down your weary tune, lay down, Lay down the song you strum, And rest yourself ’neath the strength of strings No voice can hope to hum.

707

Biograph

Abandoned Love Words and music Bob Dylan Recorded in 1975, during the sessions for Desire and released on Biograph (1985).

Performed live once, in a stunning version on the Bitter End (or the Other end) club in july 1975 [Read and listen to a sample at expectingrain.com Tabbed by Eyolf Østrem

Bitter end version Chords: G7th D5th Em’

xx(0)787 xx0775 xxx453

First start: . . . | . . . | |-7-7-5---3--|-2---2---0-0-0---|-3--|-8-8-7---5--|-3---3---1-1-1-1-|-0--|-7-7-7---4--|-2---2---0-0-0-0-|-0--- etc. |------------|--------h2-2-2-0-|-0--|------------|-------------3-3-|-2--|------------|-----------------|-3---

Second start: G C/g G D Em’ D C G D Em | . . . 4x | . . | . . . | |---3---3---3-3-3-|-7-7-5-5-3---|-2---2---2---0---|-3--|*--0---0---0-1-0*|-8-8-7-7-5---|-3---3---3---1-1-|-0--|---0---0---0-0-0-|-7-7-7-7-4---|-2---2---2---0-0-|-0--- etc |---0---0---0-2-0-|-------------|-0-------0--h2-2-|-0--|*---------------*|-------------|-0-------0--h3-3-|-2--|-3---3---3-------|-------------|-2-------2-------|-3--G D/f# Em I can hear the turning of the key C G D/f# I’ve been deceived by the clown inside of me.

Bm C I thought that he was righteous but he’s vain G G7th D5th Em’ D C G .

Oh, something’s telling me I wear a ball and chain.

. C/g-G

G G D Em D C G C/g G | . . . | . . . | . . . |-3---7---5---3---|-2---2---0------|-3---------3-3-3-| |-0---8---7---5---|-3---3---1------|-0---------1-1-0-| |-0---7---7---4---|-2---2---0------|-0---------0-0-0-| |-0---------------|-0-------2------|-0---------2-2-0-|etc |-2---------------|-0-------3------|-2---------------| |-3---------------|-2--------------|-3---------------|

708

G

abandoned love

My patron saint is fighting with a ghost He’s always off somewhere when I need him most.

The Spanish moon is rising on the hill But my heart is telling me I love ya still.

I come back to the town from the flaming moon I see you in the street, I begin to swoon.

I love to see you dress before the mirror Won’t you let me in your room one time before I disappear?

Everybody’s wearing a disguise To hide what they’ve got left behind their eyes.

But me, I can’t cover what I am Wherever the children go I’ll follow them.

I can’t play the game no more, I can’t abide by their stupid rules which kept me sick inside They’ve been made by men who’ve given up the search Whose gods are dead and whose queens are in the church.

I march in the parade of liberty But as long as I love you I’m not free.

How long must I suffer such abuse Won’t you let me see you smile before I cut you loose?

Send out for Saint John the Evangelist All my friends are drunk, they can be dismissed.

My head says that it’s time to make a change But my heart is telling me I love ya but you’re strange.

So step lightly, darling, near the wall Put on your heavy make-up, wear your shawl.

Won’t you descend from the throne, from where you sit?

Let me feel your love one more time before I abandon it.

The (vastly inferior) Biograph version G G D C G C/g G My heart is telling me I love ya still.

G D/f# Em I can see the turning of the key C G D/f# I’ve been deceived by the clown inside of me.

Bm C I thought that he was righteous but he’s vain G (/b /c) D C G Oh, something’s telling me I wear a ball and chain.

My patron saint is fighting with a ghost He’s always off somewhere when I need him most.

The Spanish moon is rising on the hill But my heart is telling me I love ya still.

709

Biograph

I come back to the town from the flaming moon I see you in the street, I begin to swoon.

I love to see you dress before the mirror Won’t you let me in your room one time before I finally disappear?

Everybody’s wearing a disguise To hide what they’ve got left behind their eyes.

But me, I can’t cover what I am Wherever the children go I’ll follow them.

I march in the parade of liberty But as long as I love you I’m not free.

How long must I suffer such abuse Won’t you let me see you smile before I cut you loose?

I’ve given up the game, I’ve got to leave The pot of gold is only make-believe The treasure can’t be found by men who search Whose gods are dead and whose queens are in the church.

We sat in an empty theatre and we kissed I asked you please to cross me off your list My head tells me it’s time to make a change But my heart is telling me I love ya but you’re strange.

So one more time, at midnight near the wall, take off your heavy make-up, and your shawl.

Won’t you descend from the throne, from where you sit?

Let me feel your love one more time before I abandon it.

710

can you please crawl out your window?

Can You Please Crawl Out Your Window?

Words and music Bob Dylan Recorded Oct 1965 and released as a single dec 1965. Released again on Biograph (1985) Tabbed by Eyolf Østrem The Dsus2 (= (2)00230) is used here and there as an embellishment to the D chords. Several D7s occur too.

G G C/G G C/G D He sits in your room, his tomb, with a fist full of tacks Am G Preoccupied with his vengeance G Bm Am D Cursing the dead that can’t answer him back Am C you know that he has no intentions D Of looking your way, unless it’s to say Am C D (Dsus2) That he needs you to test his inventions.

G C Oh, crawl out your G C come on, don’t say G C Come on, don’t say G You can go back to G

C

D window D it will ruin you D he will haunt you, C D him any time you want to.

D

He looks so truthful, is this how he feels Trying to peel the moon and expose it With his businesslike anger and his bloodhounds that kneel If he needs a third eye he just grows it He just needs you to talk or to hand him his chalk Or pick it up after he throws it.

Why does he look so righteous while your face is so changed Are You frightened of the box you keep him in While his genocide fools and his friends rearrange Their religion of the little ten women That backs up their views but your face is so bruised Come on out the dark is beginning.

711

Biograph

Positively 4th Street Words and music Bob Dylan Recorded Jul 1965 and released as a single Sep 1965, and on Greatest Hits (1967). Released again on Biograph (1985) Tabbed by Eyolf Østrem

G Am You got a lotta nerve C G To say you are my friend G D When I was down C Em D You just stood there grinning You got a lotta nerve To say you gota helping hand to lend You just want to be on The side that’s winning You say I let you down You know it’s not like that If you’re so hurt Why then don’t you show it You But You And

say you lost your faith that’s not where it’s at had no faith to lose you know it

I know the reason That you talk behind my back I used to be among the crowd You’re in with Do you take me for such a fool To think I’d make contact With the one who tries to hide What he don’t know to begin with You You You But

see me on the street always act surprised say, "How are you?", "Good luck" you don’t mean it

When you know as well as me You’d rather see me paralyzed Why don’t you just come out once And scream it No, I do not feel that good When I see the heartbreaks you embrace If I was a master thief Perhaps I’d rob them

712

positively 4th street

And now I know you’re dissatisfied With your position and your place Don’t you understand It’s not my problem I wish that for just one time You could stand inside my shoes And just for that one moment I could be you Yes, I wish that for just one time You could stand inside my shoes You’d know what a drag it is To see you

713

Biograph

Jet Pilot Words and music Bob Dylan Recorded Oct 5, 1965 during the Blonde on Blonde sessions, released on Biograph (1985) Tabbed by Eyolf Østrem

E Well, she’s got Jet Pilot eyes from her hips on down.

All the bombardiers are trying to force her out of town.

She’s five feet nine and she carries a monkey wrench.

She weighs more by the foot than she does by the inch.

A7 E She got all the downtown boys, all at her command B7 But you’ve got to watch her closely ’cause (n.c.)

E she ain’t no woman, she’s a man

714

caribbean wind

Caribbean Wind Bob Dylan Recorded Apr 7, 1981 during the Shot of Love sessions, and released on Biograph (1985) Tabbed by Eyolf Østrem Alternate lyric versions below (Taken from the “It’s Not a House, It’s a Home” Page).

G Bm Em C G Bm/F# D C G Bm She was the rose of Sharon from paradise lost Em C From the city of seven hills near the place of the cross.

G Bm/F# Em D C I was playing a show in Miami in the theater of divine comedy.

Told about Jesus, told about the rain, She told me about the jungle where her brothers were slain By a man who invented iron and disappeared so mysteriously.

Was she a child or a woman, I can’t say which From one to another she could to easily switch We went into the wall to where the long arm of the law could not reach.

Could I been used and played as a pawn?

It certainly was possible as the gay night wore on Where men bathed in perfume and celebrated free speech.

C D G C And them Caribbean winds still blow from Nassau to Mexico G C D Fanning the flames in the furnace of desire C D G C And them distant ships of liberty on them iron waves so bold and free, G C D G Bringing everything that’s near to me nearer to the fire.

She looked into my soul through the clothes that I wore She said, "We got a mutual friend over by the door, And you know he’s got our best interest in mind."

He was well connected but her heart was a snare And she had left him to die in there, There were payments due and he was a little behind.

The cry of the peacock, flies buzz my head, Ceiling fan broken, there’s a heat in my bed, Street band playing "Nearer My God to Thee."

We met at the steeple where the mission bells ring, She said, "I know what you’re thinking, but there ain’t a thing You can do about it, so let us just agree to agree."

And them Caribbean winds still blow from Nassau to Mexico Fanning the flames in the furnace of desire And them distant ships of liberty on them iron waves so bold and free, Bringing everything that’s near to me nearer to the fire.

715

Biograph

Atlantic City by the cold grey sea I hear a voice crying, "Daddy," I always think it’s for me, But it’s only the silence in the buttermilk hills that call.

Every new messenger brings evil report ’Bout armies on the march and time that is short And famines and earthquakes and hatred written upon walls.

Would I have married her? I don’t know, I suppose.

She had bells in her braids and they hung to her toes But I kept hearing my name and I had to be movin’ on.

I saw screws break loose, saw the devil pound tin, I saw a house in the country being torn from within.

I heard my ancestors calling from the land far beyond.

And them Caribbean winds still blow from Nassau to Mexico Fanning the flames in the furnace of desire And them distant ships of liberty on them iron waves so bold and free, Bringing everything that’s near to me nearer to the fire.

Fox Warfield theatre, San Francisco November 12, 1980 (Transcription is unfinished) She was from Haiti, fair brown and intense And then i took over the Lord Attendin’ the show in Miami, in the theater of divine company.

Talkin’ about Jesus, talked about the rain She told me about the vision, told me about the pain That has arisen from the ashes abided in her memory.

Is she a child or a woman? i really can’t say, Something about her said, "Trust me" anyway As the days turned to minutes and the minutes turned back into hours.

Could i’ve been used and played as a pawn?

It certainly was possible as the gay night wore on But victory was mine, and i held it with the help of God’s power.

And that Caribbean wind still blows from Trinidad to Mexico The circle of light and the furnace of desire And them distant ships of liberty on them iron waves so bold and free Bringing everything that’s near to me, nearer to the fire.

Shadows grew closer as we touched on the floor Prodigal son sitting next to the door Preaching resistance, waitin’ for the night to arrive.

He was well connected, but his heart was a snare ’Cause she had left him to die in there And i knew he could get out while he still was alive.

Stars on my balcony, buzz in my head Slayin’ [Bob Dylan?] in my bed Street band playin’, "Nearer My God To Thee."

She never did see me where the mission bells ring She said, "I know what you’re thinkin’, but there ain’t a thing You can do about it, so you might as well agree to agree’.’

716

caribbean wind

And that Caribbean wind blows hard from the Valley coast into my backyard Drivin’ all your love to the furnace of desire And them distant ships of liberty on them iron waves so bold and free Bringing everything that’s near to me, nearer to the fire.

Atlantic City by the cruel sea I hear a voice cryin’ "Daddy", i always think it’s for me But it’s only the silence in the buttermilk hills that call.

Bearin’ new messages, bringin’ evil reports Of riotin’ armies and time that is short And earthquakes and train wrecks and death threats written on walls.

Would I have married her? i don’t know, i suppose She had bells on her braids and they hung to her toes The curtain was risin’ and like they say, the ship will sail at dawn.

And i felt it come over me, some kind of gloom My voice said, "Come on with me girl, I got plenty of room."

But i know i’d be lyin’, and besides she had already gone.

And that We never And them Bringing

Caribbean wind still howls from Tokyo to the British Isles walked in to that furnace of desire distant ships of liberty on ’em iron waves so bold and free everything that’s near to me, nearer to the fire.

Shot Of Love sessions 31.03.1981 This version is issued on the Genuine Bootleg Series Vol.1.

She was well rehearsed, fair brown and blonde She had friends who was busboys and friends in the Pentagon Playin’ a show in Miami in the theater of divine comedy.

Talked in the shadows where they talked in the rain I could tell she was still feelin’ the pain Pain of rejection, pain of infidelity.

Was she a child or a woman? I can’t say which One to another she could easily switch.

Couples were dancin’ an’ i lost track of the hours.

He was well prepared, i knew he was Paying attention like a rattlesnake does When he’s hearin’ footsteps tramplin’ over his flowers.

And that From the An’ them Bringing

Caribbean winds still blow from Nassau to Mexico circle of ice to the furnace of desire. distant ships of liberty on ’em iron waves so bold and free everything that’s near to me, nearer to the fire.

She looked into my soul through the clothes that i wore She said, "We got a mutual friend standin’ at the door.

Yeah, you know he’s got our best interest in mind.”

He was well connected, but her heart was a snare And she had left him to die in there Here were payments due and he was a little behind.

717

Biograph

Well i slept in a hotel where flies buzz my head Ceiling fan was broken, there was heat in my bed Street band playin’, "Nearer My God To Thee.”

We met in secret where we drank from a spring She said, "I know what you’re thinkin’, but there ain’t a thing We can do about it, so we might as well let it be.”

The Caribbean winds still blow from Nassau to Mexico From the circle of ice to the furnace of desire.

An’ them distant ships of liberty on ’em iron waves so bold and free Bringing everything that’s near to me, nearer to the fire.

Atlantic City, two years to the day I hear a voice cryin’, "Daddy” and i looked that way But it’s only the silence on the buttermilk hills that call.

Every new messenger bringin’ evil reports ’Bout riotin’ armies and time that is short An’ earthquakes and train wrecks and hate words scribbled on walls.

Would i have married her? I don’t know i suppose She had bells in her braids and they hung to her toes But i heard my mirrored destiny said to be movin’ on.

And i felt it come over me, some kind of gloom For the sake of "Come on with me girl, i got plenty of room.”

But i knew i’d be lyin’ and besides she had already gone.

And that Caribbean winds still blow from Nassau to Mexico Circle of ice to the furnace of desire.

And them busy ships of liberty on ’em iron waves so bold and free Bringing everything that’s near to me, nearer to the fire.

Shot Of Love sessions 11 Apr. 1981 (Biograph) She was the rose of Sharon from paradise lost From the city of seven hills near the place of the cross.

I was playin’ a show in Miami in the theater of divine comedy.

Told about Jesus, told about the rain She told me ’bout the jungle where her brothers were slain By the man who invented iron and disappeared so mysteriously.

Was she a child or an angel? Did we go too far?

Where we sniped the bait? Did we follow a star Through the hole in the wall to where the long arm of the law cannot reach?

Could I have been used and played as a pawn?

It certainly was possible as the gay night wore on When men bathed in perfume and practiced the hoax of free speech.

And them Caribbean winds still blow from Nassau to Mexico Fanning the flames in the furnace of desire And them distant ships of liberty on ’em iron waves so bold and free Bringing everything that’s near to me nearer to the fire.

718

caribbean wind

Sea breeze blowin’, there’s a hellhound loose Redeemed men who have escaped from the noose Preaching faith and salvation, waitin’ on the night to arrive.

He was well connected but her heart was a snare And she had left him to die in there He was goin’ down slow, just barely stayin’ alive.

The cry of the peacock, flies buzz in my head Ceiling fan broken, there’s a heat in my bed Street band playing "Nearer My God to Thee."

We met at the station where the mission bells ring She said, "I know what you’re thinkin’, but there ain’t a thing You can do about it, so let us just agree to agree.”

And them Caribbean winds still blow from Nassau to Mexico Fannin’ the flames in the furnace of desire And them distant ships of liberty on ’em iron waves so bold and free Bringing everything that’s near to me nearer to the fire.

Atlantic City by the cold grey sea Hear a voice crying "Daddy”, I always think it’s for me, But it’s only the silence in the buttermilk hills that call.

Every new messenger brings in evil report ’Bout armies on the march and time that is short An’ famines and earthquakes and train wrecks and the tearin’ down of the walls.

Did you ever have a dream that you couldn’t explain?

Did you ever meet your accusers face to face in the rain?

She had chrome brown eyes that I won’t forget as long as she’s gone.

I see the screws breakin’ loose, see the devil poundin’ on tin I see a house in the country bein’ torn from within.

I can hear my ancestors callin’ from the land far beyond.

And them Caribbean winds still blow from Nassau to Mexico Fannin’ the flames in the furnace of desire And them distant ships of liberty on ’em iron waves so bold and free Bringing everything that’s near to me nearer to the fire.

Alternate lyrics She was the rose of Sharon from paradise lost From the city of seven hills near the place of the cross.

I was playing a show in Miami in the theater of divine comedy.

Told about Jesus, told about the rain, She told me about the jungle where her brothers were slain By a man who danced on the roof of the embassy.

Was she a child or a woman, I can’t say which From one to another she could to easily switch We went into the wall to where the long arm of the law could not reach.

Could I been used and played as a pawn?

It certainly was possible as the gay night wore on Where men bathed in perfume and celebrated free speech.

719

Biograph

And them Caribbean winds still blow from Nassau to Mexico Fanning the flames in the furnace of desire And them distant ships of liberty on them iron waves so bold and free, Bringing everything that’s near to me nearer to the fire.

She looked into my soul through the clothes that I wore She said, "We got a mutual friend over by the door, And you know he’s got our best interest in mind.”

He was well connected but her heart was a snare And she had left him to die in there, There were payments due and he was a little behind.

The cry of the peacock, flies buzz my head, Ceiling fan broken, there’s a heat in my bed, Street band playing "Nearer My God to Thee.”

We met at the steeple where the mission bells ring, She said, "I know what you’re thinking, but there ain’t a thing You can do about it, so let us just agree to agree.”

And them Caribbean winds still blow from Nassau to Mexico Fanning the flames in the furnace of desire And them distant ships of liberty on them iron waves so bold and free, Bringing everything that’s near to me nearer to the fire.

Atlantic City by the cold grey sea I hear a voice crying, "Daddy,” I always think it’s for me, But it’s only the silence in the buttermilk hills that call.

Every new messenger brings evil report ’Bout armies on the march and time that is short And famines and earthquakes and hatred written upon walls.

Would I have married her? I don’t know, I suppose.

She had bells in her braids and they hung to her toes But I kept hearing my name and I had to be movin’ on.

I saw screws break loose, saw the devil pound tin, I saw a house in the country being torn from within.

I heard my ancestors calling from the land far beyond.

And them Caribbean winds still blow from Nassau to Mexico Fanning the flames in the furnace of desire And them distant ships of liberty on them iron waves so bold and free, Bringing everything that’s near to me nearer to the fire.

720

baby, i’m in the mood for you

Baby, I’m in the Mood for You Written by Bob Dylan Recorded 9 Jul, 1962 during the Freewheelin’ sessions, released on Biograph (1985) Tabbed by Eyolf Østrem B7/f] = 22120x

G Sometimes I’m in the mood, I wanna leave my lonesome home C G And sometimes I’m in the mood, I wanna hear my milk cow moan B7/f# C/g And sometimes I’m in the mood, I wanna hit the highway road G D G C But then again, but then again, I said oh, I said oh, I said G D G Oh babe, I’m in the mood for you.

Sometimes I’m in the mood, Lord, I had my overflowin’ fill Sometimes I’m in the mood, I’m gonna make out my final will Sometimes I’m in the mood, I’m gonna head for the walkin’ hill But then again, but then again, I said oh, I said oh, I said Oh babe, I’m in the mood for you.

Sometimes I’m in the mood, I wanna lay right down and die Sometimes I’m in the mood, I wanna climb up to the sky Sometimes I’m in the mood, I’m gonna laugh until I cry But then again, I said again, I said again, I said Oh babe, I’m in the mood for you.

Sometimes I’m in the mood, I’m gonna sleep in my pony’s stall Sometimes I’m in the mood, I ain’t gonna do nothin’ at all Sometimes I’m in the mood, I wanna fly like a cannon ball But then again, but then again, I said oh, I said oh, I said Oh babe, I’m in the mood for you.

Sometimes I’m in the mood, I wanna back up against the wall Sometimes I’m in the mood, I wanna run till I have to crawl Sometimes I’m in the mood, I ain’t gonna do nothin’ at all But then again, but then again, I said oh, I said oh, I said Oh babe, I’m in the mood for you.

Sometimes I’m in the mood, I wanna change my house around Sometimes I’m in the mood, I’m gonna make a change in this here town Sometimes I’m in the mood, I’m gonna change the world around But then again, but then again, I said oh, I said oh, I said Oh babe, I’m in the mood for you.

721

Biograph

I Wanna Be Your Lover Words and music Bob Dylan Recorded Oct 20, 1965 during the Blonde on Blonde sessions, released on Biograph (1985) Tabbed by Eyolf Østrem (For the record: I do think Dylan plays in dropped C tuning (C-A-d-g-b-e’) with a capo on the 7th fret and the chords: C = 032010, G7 = 220001, F = 033211. Doesn’t matter much, though. . . )

G Well, the rainman comes with his magic wand And the judge says, "Mona can’t have no bond."

And the walls collide, Mona cries, D(7) . . . . . . . G And the rainman leaves in the wolfman’s disguise.

C I wanna be your lover, baby, I wanna be your man.

I wanna be your lover, baby, G I don’t wanna be hers, I wanna be yours.

Well, the undertaker in his midnight suit Says to the masked man, "Ain’t you cute!"

Well, the mask man he gets up on the shelf And he says, "You ain’t so bad yourself."

I wanna be your lover, baby, I wanna be your man.

I wanna be your lover, baby, I don’t wanna be hers, I wanna be yours.

Well, jumpin’ Judy can’t go no higher.

She had bullets in her eyes, and they fire.

Rasputin he’s so dignified, He touched the back of her head an’ he died.

I wanna be your lover, baby, I wanna be your man.

I wanna be your lover, baby, I don’t wanna be hers, I wanna be yours.

Well, Phaedra with her looking glass, Stretchin’ out upon the grass.

She gets all messed up and she faints That’s ’cause she’s so obvious and you ain’t.

I wanna be your lover, baby, I wanna be your man.

I wanna be your lover, baby, I don’t wanna be hers, I wanna be yours

722

29 Knocked Out Loaded Recorded Jul 1984–May 1986 — Released Jul 14, 1986

724 726 728 730 732 734 735

You Wanna Ramble They Killed Him Driftin’ Too Far from Shore Precious Memories Maybe Someday Got My Mind Made Up Under Your Spell

Knocked Out Loaded

You Wanna Ramble H. Parker Jr Released on Knocked Out Loaded (1986) Tabbed by Eyolf Ă&#x2DC;strem D9 E9

xx0555 or x54555 076777 or 076770

D9 . . . |. . . . |A A . . : . . . : .

-/3-----3(1)----|-------------------------|-----------/5-----5-3---1-|-------------------------|--------------------------|-2-----------------------|--------------------------|-------------------------|--------------------------|-------------------------|-0------------------------|-------------0-----3-----|----------A Well I told my baby I said Baby, I know where you been Well, I know who you are And what league you played in?

D9 You wanna ramble A To the break of dawn D9 You wanna ramble A To the break of dawn E9 D9 You wanna ramble A To the break of dawn.

Well, the night is so empty So quit and still For only fifteen hundred dollars You can have anybody killed You wanna ramble To the break of dawn You wanna ramble To the break of dawn You wanna ramble To the break of dawn.

Well, I told my baby Further down the line

724

you wanna ramble

I said, "What happens tomorrow Is on your head, not mine" You wanna ramble To the break of dawn You wanna ramble To the break of dawn You wanna ramble To the break of dawn.

725

Knocked Out Loaded

They Killed Him Written by Kris Kristofferson Released on Knocked Out Loaded (1986) Tabbed by Eyolf Østrem

G There was a man named Mahatma Gandhi, He would not bow down, he would not fight.

He knew the deal was a-down and dirty.

F C And nothing wrong could make it right away.

G But he knew his duty and the price he had to pay.

D C Just another holy man who dared to be a friend.

G My God, they killed him.

Another man from Atlanta, Georgia, Name of Martin Luther King He shook the land like a rolling thunder And made the bells of freedom ring today With a dream of beauty that they could not take away Just another holy man who dared to make a stand.

My God, they killed him.

The only Son of God Almighty The holy one called Jesus Christ He healed the sick and fed the hungry And for his love they took his life away On the road to glory where the story never ends Just the holy Son of Man I’ll never understand.

My God, they killed him.

(There was a man named Mahatma Gandhi, A man named Martin Luther King The only Son of God Almighty The holy one called Jesus Christ) On the road to glory where the story never ends Just the holy Son of Man I’ll never understand.

My God, they killed him.

There was a man named Mahatma Gandhi, A man named Martin Luther King The only Son of God Almighty The holy one called Jesus Christ On the road to glory where the story never ends Just the holy Son of Man I’ll never understand.

My God, they killed him.

(There was a man named Mahatma Gandhi, A man named Martin Luther King

726

they killed him

The only Son of God Almighty The holy one called Jesus Christ) (There was a man named Mahatma Gandhi, A man named Martin Luther King...)

727

Knocked Out Loaded

Driftin’ Too Far from Shore Written by Bob Dylan (may not be the song that he brags about in interviews and family parties, though – “Hey, I wrote this song – ‘Driftin’ too far from shore’ “) Released on Knocked Out Loaded (1986) Tabbed by Eyolf Østrem

Ab9 Bb I didn’t know that you’d be a-leavin’ Ab9 Bb Who you thought you were talkin’ to Ab9 Bb I figure you maybe we’re even Ab9 Bb Or maybe I’m one up on you.

Eb Bb I sent you all my money Eb Bb Just like I did before Eb Ab I try to reach you honey Bb But you’re driftin’ too far from shore.

Driftin’ Driftin’ Driftin’ Driftin’

too too too too

far far far far

from from from from

shore shore shore shore.

I ain’t gonna get lost in this current I don’t like playin’ cat an’ mouse No gentleman likes makin’ love to a servant Especially when he’s in his father’s house.

I never could guess your weight baby Never needed to call you my whore I always thought you were straight baby But you’re driftin’ too far from shore.

Well driftin’ too far Driftin’ too far from Driftin’ too far from Driftin’ too far from

from shore shore shore shore.

Well these times an’ these tunnels are haunted The bottom of the barrel is too I waited years sometimes, for what I wanted Everybody can’t be as lucky as you.

Never no more do I wonder Why you don’t never play with me any more An’ any moment you can go under Cause you’re driftin’ too far from shore.

Yeah driftin’ too far from shore Driftin’ too far from shore

728

driftin’ too far from shore

Driftin’ too far from shore Driftin’ too far from shore.

You an’ me we had completeness I’d give you all of what I could provide We weren’t on the wrong side, sweetness, We were the wrong side.

I’ve already ripped out the phones, honey You can’t walk the streets in a war I can finish this alone honey You’re driftin’ too far from shore.

729

Knocked Out Loaded

Precious Memories Trad.

Released on Knocked Out Loaded (1986) Tabbed by Eyolf Østrem

Bb

.

F

.

Bb .

.

.

Bb Eb Bb As I travel down life’s pathway C7 F Know not what the years may hold Bb Eb Bb As I ponder hopes grow fonder Bb F Bb Precious memories flood my soul Bb Eb Bb Precious memories how they linger How they ever flood my soul Eb Bb In the stillness of the midnight F Bb Precious sacred scenes unfold.

Precious father loving mother Glide across the lonely years And old home scenes of my childhood In fond memories appears Precious memories how they linger How they ever flood my soul In the stillness of the midnight Precious memories sacred scenes unfold.

Chords as played at Toad’s Place, New Haven CT, Jan 12 1990 The lyrics differ somewhat from the album version.

C F C As I travel down life’s pathway D7 G Know not what the years may hold C F C As I ponder hopes grow fonder C G C Precious memories flood my soul C F C Precious memories how they linger

730

precious memories

How they ever flood my soul F C In the stillness of the midnight G C Precious sacred scenes unfold.

731

Knocked Out Loaded

Maybe Someday Written by Bob Dylan Released on Knocked Out Loaded (1986) Tabbed by Eyolf Østrem

E A E Maybe someday you’ll be satisfied A E B E When you’ve lost everything you’ll have nothing left to hide E A When you’re thru runnin’ over things, like you’re walkin’ ’cross the tracks A E B E Maybe you’ll beg me like a dog to take you back B Maybe someday you’ll find out everybody’s somebody’s fool A Maybe then you’ll realize what it would have taken to keep me cool E A E Maybe someday when you’re by yourself alone A E B E You’ll only love that I have for you was never my own.

Maybe someday you’ll have nowhere to turn You look back an’ wonder at the bridges you have burned You look back sometime when the lights grow dim An’ you’ll see you look much better with me than you do with him Through hostile cities an’ unfriendly towns Thirty pieces of silver, no money down Maybe someday you will understand That something for nothing is everybody’s plan.

Maybe someday you’ll remember what you felt When there was blood on the moon in the cotton belt When both of us baby, with those who some sort of a test Neither one of us could do what we do best I should have known better, baby, I should have called your bluff I guess I was too off the handle, not sentimental enough Maybe someday you’ll believe me when I say That I wanted you baby in every kind of way.

Maybe someday you’ll hear a voice from on high Sayin’, "For whose sake did you live, for whose sake did you die?”

Forgive me baby for what I didn’t do For not breakin’ down no bedroom door to get at you Always was a sucker for the right cross Never wanted to go home when the last cent was lost Maybe someday you will look back an’ see That I made it so easy for you to follow me.

Maybe someday there’ll be nothing to tell But I just as happy as you baby I just can’t say it Never slumbered or slept or waited for lightning to It was no excuse for you to say that we don’t think You said you were goin’ to Frisco, stay a couple of

732

so well strike alike months

maybe someday

I always liked San Fransisco, I was there for a party once Maybe someday youâ&#x20AC;&#x2122;ll see that itâ&#x20AC;&#x2122;s true, There was no greater love than what I had for you.

733

Knocked Out Loaded

Got My Mind Made Up Written by Bob Dylan and Tom Petty (who’ve both done better) Released on Knocked Out Loaded (1986) Tabbed by Eyolf Østrem

G G Don’t ever try to change me I’ve been in this thing too long There’s nothing you can say or do to make me think I’m wrong F But I’m going off to Libya, there’s a guy I gotta see He’s been livin’ there three years now in an oil refinery G I got my mind made up Got my mind made up.

C

G

Call you ma in Tallahassee, tell her her baby’s on the line Tell her not to worry, everything is gonna be fine Well I’ll give you all my money all my connections too There ain’t nothing in this world, you can say I didn’t give to you I got my mind made up Got my mind made up.

You will be alright girl, someone’s watchin’ over you He won’t do nothing to you baby that I wouldn’t do Well if you don’t want to see me look out the other way You don’t have to feed me I ain’t your dog that’s gone astray I got my mind made up I got my mind made up Got my mind made up Got my mind made up

734

under your spell

Under Your Spell Written by Bob Dylan and Carole Bayer Sager Released on Knocked Out Loaded (1986) Tabbed by Eyolf Østrem Chords: E+ A6

022110 (=Eaug) 002222

A E+ Something about you that I can’t shake F#m Dsus4 Don’t know how much more of this I can take D Dm A Baby, I’m under your spell.

E I was knocked out an’ loaded in the naked night When my last dream exploded I noticed your light Baby, oh what a story I could tell?

A6 . . E+ |A . . E | D . . Dm |A . . . | It’s been nice seein’ you, you read me like a book If you ever want to reach me, you know where to look Baby I’ll be at the same hotel.

I’d like to help you but I’m in a bit of a jam I’ll call you tomorrow if there’s phones where I am Baby, caught between heaven an’ hell.

But I will be back, I will survive You’ll never get rid of me as long as you’re alive Baby, can’t you tell?

Well it’s four in the mornin’ by the sounds of the birds I’m starin’ at your picture, I’m hearin’ your words Baby, they ring in my head like a bell.

D Everywhere you go it’s enough to break hearts A Someone always gets hurt, a fire always starts D You where too hot to handle, you were breakin’ every vow Cmaj7 E I trusted you baby, you can trust me now.

Turn back, baby, wipe your eye Don’t think I’m leavin’ here without a kiss goodbye

735

Knocked Out Loaded

Baby, is there anythin’ left to tell?

I’ll see you later when I’m not so out of my head Maybe next time I’ll let the dead bury the dead Baby, what more can I tell?

When the desert is hot, the mountain is cursed Pray that I don’t die of thirst Baby, two feet from the well.

736

30 Down In The Groove Recorded: August 1986 to May 1987 — Released: May 31, 1988

739 740 741 742 744 746 747 749 750 751

Let’s Stick Together When Did You Leave Heaven?

Sally Sue Brown Death Is Not The End Had A Dream About You, Baby Ugliest Girl In The World Silvio Ninety Miles An Hour (Down A Dead End Street) Shenandoah Rank Strangers To Me

Introductory Remarks Eyolf Østrem Down in the Groove came at a time when Dylan wasn’t exactly at the zenith of his powers as a recording artist. His struggles with the modern recording techniques (at the time mostly resulting in lost battles), as well as a steadily decreasing audience since his religious trilogy, hadn’t been good for his reputation. And Down in the Groove didn’t make things much better.

It is probably one of the last albums people buy. And in my most critical moments I’m inclined to say: “And for good reason.” But still: the album has qualities, not only compared with Knocked out Loaded, which only has one quality (“Brownsville Girl”).

I’ll return to the qualities in a moment. First a general overview: The six first songs, and eight out of ten songs on the album as a whole, are in the key of A major, most of them are fairly standard 12-bar blues, with slight variations (such as the F]m in Had a Dream About You Baby, which in this case is counterbalanced by the rather monotonous singing)(I didn’t say it was bad, though). The main difference between Let’s Stick Together, Sally Sue Brown, Had A Dream About You Baby and Ugliest Girl In The World is the titles.

Death is Not the End is, I think, the only Dylan song that has left a really bad taste in my mouth. It was a general joking subject around here, until someone wanted to borrow the album to play this song in his wife’s funeral. They had heard it on the radio a few days before she died, probably the only time it was ever played on the radio. I pass her gravestone every day on my way to work. It hasn’t changed my opinion about the song, I just don’t laugh about it anymore.

Silvio is a strange song in many ways. The lyrics by Grateful Dead-lyricist Robert Hunter are often referred to as typical Dylan-wannabe-writing. Be that as it may–on this album it compares favourably not only to the non-Dylan songs. For a very long time it was the regular ending of the first electric set of just about every show, which added to its strangeness: a song that for tape-collectors was a nuisance and a drag, as the eternal song no. 5, but which most others had never heard–who had got Down in the Groove apart from the collectors (the song request of all times: in Stockholm, June 9 1998 someone yelled out “SILVIO” after song nr. 4)?

Musically it is a carbon copy of Isis. That’s perhaps not where the real genious of Isis lies, but it’s a persistent little bugger of a riff.

The songs that are neither square rock’n’roll in A or “Death is not the end”, go to the other opposite–three of them are played in a very loose rhythm (When Did You Leave Heaven?, Shenandoah, Ninety Miles an Hour). These are not only standing out, they are really outstanding. Sure enough, the drumming on “When did you leave heaven” is a bit strange, but that’s forgiveable. “Ninety miles” is a perfect example of how to create an intensive pulse (quite fitting the lyrics) without a drum or even a fixed rhythm.

One song left, one performance, and what a performance! Rank Strangers To Me is one of the reasons to have this one on CD–not because of the sound, but because of the repeat button.

738

let’s stick together

Let’s Stick Together W. Harrison, ABZ Music Corp.

Released by Bob Dylan on Down In The Groove (1988) Tabbed by Eyolf Østrem

A . . | . . . |--------+5-----5-----5---+--|--------+5-----5-----5---+--|--------+6-----6-----6---+--- etc (repeat rhythm figure |--------+7-----7-----7---+--4 times for intro) |--------+7-----7-----7---+--|--0-3-5-+5-----5-----5---+---

Well, a

A marriage vow, you know, it’s very sacred

The man put us together, now, you wanna make it D Stick together A Come on, come on, stick together.

E A You know, we made a vow, not to leave one another, never Well, ya never miss you water till your well runs dry Come one, baby, give our love a try, let’s stick together Come on, come on, stick together We made a vow, not to leave one another, never.

Well, ya never miss your water till your well runs dry Come one, baby, give our love a try, let’s stick together Come on, come on, stick together You know, we made a vow, not to leave one another, never.

It might be tough for a while, but consider the child Cannot be happy without his mom and his pappy Let’s stick together Come on, come on, stick together You know, we made a vow, not to leave one another, never.

739

Down In The Groove

When Did You Leave Heaven?

Words and Music W. Bullock and R. Whiting, Whiting music corp./EMI Robbins Catalog Sung by Bob Dylan on Down In The Groove (1988) Tabbed by Eyolf Østrem Chords: Dm7 Bm7 E+

x00211 224232 022110

A When did you leave heaven?

D Dm7 How could they let you go?

A F# How’s every thing in heaven?

Bm7 E I’d like to know.

A Why did you trade heaven?

D Dm7 For all these earthly things?

A F# Where on earth did you hide your halo?

Bm7 E A Where did you lose your wings?

A7 Have they missed you?

D Can you get back in?

B7 (E) If I kiss you would it be a sin?

E+ A I am only human D Dm but you are so divine.

A F# When did you leave heaven Bm7 E A angel mine?

740

sally sue brown

Sally Sue Brown Words and music by J. Alexander, E Montgomery and T. Stafford Sung by Bob Dylan on Down In The Groove (1988) Tabbed by Eyolf Østrem

A (A7) Look who’s back in town Ain’t nobody but Sally Sue Brown D7 All you boys better run for cover E If you don’t a-wanna be a broken hearted lover.

A See her in that very tight skirt Got what it takes just to make you hurt D7 Don’t be deceived by those big bright eyes E Prefer to treat her nasty and low down lies.

D Makes no difference where she’s been A I know Sal’s been doin’ them things again D Breaking hearts up and down the line E Like she broke this heart of mine.

A I’ll go see them come down my way Like a fool you’re gonna hear me say: D7 "I’ll lay at your bed Sally Sue Brown E A Please let me love you, baby, don’t put me down".

Makes no difference where she’s been I’m go in south and doin’ them things again Bake in a hot tub, down the line I’d rather see you ruin this a-heart of mine.

I’ll go see them come down my way Like a fool you’re gonna hear me say: "I’ll lay at your bed Sally Sue Brown Please let me love you, baby, don’t put me down".

741

Down In The Groove

Death Is Not The End Words and music Bob Dylan Recorded during the Infidels sessions (1983) Released on Down In The Groove (1988) Tabbed by Eyolf Østrem The figure at the end of most phrases could be played A D/a A | . . . | |---------------------|--2------(2)--3---2--|--2------(2)--2---2--|--2-------2h4-----2--|--0---------------0--|----------------------

A When you’re sad and when you’re lonely And you haven’t got a friend E A Just remember that death is not the end And all that you held sacred Falls down and dows not bend E A Just remember that death is not the end.

D/a Not the end,

A (no, no) A (no, no)

D/a not the end E A Just remember that death is not the end.

When you’re standing on the cross-roads That you cannot comprehend Just remember that death is not the end And all your dreams have vanished And you don’t know what’s up the bend Just remember that death is not the end.

Not the end, not the end Just remember that death is not the end.

When the storm clouds gather round you And heavy rains descend Just remember that death is not the end And there’s nowhere there to comfort you With helping hand to lend Just remember that death is not the end.

742

death is not the end

Not the end, not the end Just remember that death is not the end.

D Oh the tree of life is growing A Where the spirit never dies D And the bright light of salvation A E Shines in dark and empty skies When the cities are on fire When the burning flesh of men Just remember that death is not the end And you search in vain to find Just one law abiding citizen Just remember that death is not the end.

Not the end, not the end Just remember that death is not the end.

743

Down In The Groove

Had A Dream About You, Baby Words and music by Bob Dylan Sung by Bob Dylan on Down In The Groove (1988) Tabbed by Eyolf Østrem

A | . . ; . . ; . . ; . . | |:-------------------------:||:-2---------2-------------:||:-2---------2-------------:|- repeat 8 times |:-2---------2-----2-4---2-:|- for intro |:-0---------0-------------:||:-------------------------:|-

(2nd guitar plays standard fills) A I got to see you baby, I don’t care It may be some place, baby, you say you where F#m D A I had a dream about you, baby F#m D A A dream about you, baby F#m D A Late last night you come a-rollin’ across my mind.

You got the crazy rhythm You make me nervous when I had a dream about you, A dream about you, baby Late last night you come

when you walk you start to talk baby a-rollin’ across my mind.

Standin’ on the highway, you flag me down Said, take me, daddy, to the nearest town I had a dream about you, baby Had a dream about you, baby Late last night you come a-rollin’ across my mind.

D The join A The beat B Spent my E My limbs

is jumpin’ it’s really somethin’ is pumpin, my heart is thumpin’ money on you honey are shakin, my heart is breakin’

You kiss me, baby, in the coffee stop You made me so bad, you gotta stop I had a dream about you, baby Had a dream about you, baby Late last night you come a-rollin’ across my mind.

744

had a dream about you, baby

The join The beat Spent my My limbs

is jumpin’ it’s really somethin’ is pumpin, my heart is thumpin’ money on you honey are shakin, my heart is breakin’

You had a white rag wrapped around your head Wearing a long dress fire engine red I had a dream about you, baby Had a dream about you, baby Late last night you come a-rollin’ across my mind.

745

Down In The Groove

Ugliest Girl In The World (Words and Music by Bob Dylan and Robert Hunter) Released by Bob Dylan on Down In The Groove (1988) Tabbed by Eyolf Østrem

A Well the woman that I love she got a hook in her nose Her eye brows meet she wears second hand clothes D She speaks with a stutter and she walks with a hop A I don’t know why I love her but I just can’t stop.

D A You know I love her yeah I love her E A I’m in love with the ugliest girl in the world.

If I ever lose her I will go insane I go half crazy when she calls my name When she says "ba-ba-ba-ba-baby I l’-l’-love you There ain’t nothing in the world that I wouldn’t do.

You know I love her yeah I love her I’m in love with the ugliest girl in the world.

The woman that I love she got two flat feet Her knees knocks together walking down the street She cracks her knuckles and she snores in bed She ain’t much to look at but like I said: I love her Yeah I love her I’m in love with the ugliest girl in the world (She’s so ugly Man she’s ugly definitely (?) ugly truly ugly She’s so ugly She’s so ugly) I don’t mean to say she got nothing going She got a weird sense of humor that is all her own When I got low she sets me on my feet Got a five inch smile but her breath is sweet.

You know I love her Yeah I love her I’m in love with the ugliest girl in the world.

Well the woman that I love she got a hook in her nose Her eye brows meet she wears second hand clothes She speaks with a stutter and she walks with a hop I don’t know why I love her but I just can’t stop.

You know I love her yeah I love her I’m in love with the ugliest girl in the world.

746

silvio

Silvio Lyrics: Robert Hunter, Music: Bob Dylan Sung by Bob Dylan on Down In The Groove (1988) Tabbed by Eyolf Østrem

G

F

C

G

G F C G Stake my future on a hell of a past G F C G Looks like tomorrow is a coming on fast G F C G Ain’t complaining about what I got G F C G Seen better times but who has not.

Silvio silver and gold Won’t buy back the beat of a heart grown cold Silvio I gotta go Find out something only dead men know.

Honest When I I’m an If you

as the next jade rolling that stone come and knockin’ don’t throw me no bone old boll weevil looking for a home don’t like it you can leave me alone.

I can snap my fingers and require the rain From a clear blue sky and turn it off again I can stroke your body and relieve your pain And charm the whistle off an evening train.

Silvio silver and gold Won’t buy back the beat of a heart grown cold Silvio I gotta go Find out something only dead men know Give what I got until I got no more I take what I get until I even the score You know I love you and further more When it is time to go you got an open door.

I can tell your fancy I can tell your plain You give something up for ev’rything you gain Since ev’ry pleasure’s got an edge of pain Pay for your ticket and don’t complain.

One of these days and it won’t be long Going down the valley and sing my song I will sing it loud and sing it strong Let the echo decide if I was right or wrong.

Silvio silver and gold Won’t buy back the beat of a heart grown cold Silvio I gotta go

747

Down In The Groove

Find out something only dead men know.

748

ninety miles an hour (down a dead end street)

Ninety Miles An Hour (Down A Dead End Street) Words and music by H. Blair and D. Robertson Sung by Bob Dylan on Down In The Groove (1988) Tabbed by Eyolf Østrem Tabbed in A (capo 1st fret, original key B[ major)

A D A I took you home from a party and we kissed in fun E A Asus4 A A few stolen kisses and no harm was done D A Instead of stopping when we could we went right on (A/c#) D A/c# Till suddenly we found that the brakes were gone.

You belong to someone else, and I do too It’s just crazy bein’ here with you As a bad motorcycle with the devil in the seat Going ninety miles an hour down a dead end street Ninety miles an hour down a dead end street.

I didn’t want to want you, but now I have no choice It’s too late to listen to that warning voice All I hear is thunder of two hearts beat Going ninety miles an hour down a dead end street Ninety miles an hour down a dead end street.

D You’re not free to belong to me A And you know I could never be your own D Your lips on mine are like a sweet, sweet wine A E But we’re heading for a wall of stone.

Warning signs are flashing ev’ry where, but we pay no heed ’Stead of slowing down the pace, we keep a pickin’ up speed Disaster’s getting closer ev’ry time we meet Going ninety miles an hour down a dead end street Yeah, ninety miles an hour down a dead end street Well, ninety miles an hour down a dead end street.

749

Down In The Groove

Shenandoah Trad. arr. by Bob Dylan Sung by Bob Dylan on Down In The Groove (1988) Tabbed by Eyolf Østrem G C/g G Oh, Shenandoah, I long to hear you C/g G Look away, you rollin’ river C/g G Oh, Shenandoah, I long to hear you G C/g G Look away, we’re bound away G/b C /b /a G Across the wide Missouri.

Now the Missouri is a mighty river Look away, you rollin’ river Indians camp along her border Look away, we’re bound away Across the wide Missouri.

Well, a white man loved an Indian maiden Look away, you rollin’ river With notions his canoe was laden Look away, we’re bound away Across the wide Missouri.

Shenandoah, I love your daughter Look away, you rollin’ river It was for her I’d cross the water Look away, we’re bound away Across the wide Missouri.

For seven long years I courted Sally Look away, you rollin’ river Seven more years I longed to have her Look away, we’re bound away Across the wide Missouri.

Well, it’s fare-thee-well, my dear, I’m bound to leave you Look away, you rollin’ river Shenandoah, I will not deceive you Look away, we’re bound away Across the wide Missouri.

750

Rank Strangers To Me Words and music by Albert Brumley Sung by Bob Dylan on Down In The Groove (1988) Tabbed by Eyolf Østrem

E Esus4 E I wandered again to my home in the mountain B B7 Where in youth’s early dawn I was happy and free E I looked for my friends but I never could find them B E I found they were all rank strangers to me.

Esus4 Ev’rybody I met seemed to be a rank stranger B B7 No mother or dad not a friend could I see E They knew not my name and I knew not their faces B E I found they were all rank strangers to me.

"They all moved a way," said a voice of a stranger "To that bautiful home by the bright crystal sea" Some beautiful day I’ll meet ’em in heaven Where no one will be a stranger to me.

Ev’rybody I met seemed to be a rank stranger No mother or dad not a friend could I see They knew not my name and I knew not their faces I found they were all rank strangers to me.

751

31 Oh Mercy Recorded March 1989 â&#x20AC;&#x201D; Released September 22 1989

754 756 757 760 762 763 765 766 768 770

Political World Where Teardrops Fall Everything is Broken Ring Them Bells Man In The Long Black Coat Most of the Time What Good Am I? Disease of Conceit What Was It You Wanted?

Shooting Star

Oh Mercy

Political World Words and music Bob Dylan.

Released on Oh Mercy (1989).

Tabbed by Eyolf Østrem

F#m : . . . : . . . : . . . |-----------------|-------2---------|-----------------| |-----------------|*----------------|----------------*| |-------------2-4-|-----------------|-------------2-4-| 3 times |-----------------|-----------------|-----------------| |-----------------|*----------------|----------------*| |-----------------|-----------------|-----------------| : . . . : . . . : . . . : . . . |-------5-4---2---|-----------------|------------|----------------+---|-----------------|-5---4---2-------|------------|----------------+---|(4)--------------|-------------4-2-|------------|-------454---2--+---- etc. |-----------------|-----------------|-4----------|----------------+-4-|-----------------|-----------------|------------|----------------+---|-----------------|-----------------|------------|----------------+---F#m We live in a political world Love don’t have any place We’re living in times Where men commit crimes And crime don’t have any face.

We live in a political world Icicles hanging down Wedding bells ring And angels sing Clouds cover up the ground.

We live in a political world Wisdom is thrown in jail It rots in a cell Is misguided as hell Leaving no one to pick up a trail.

We live in a political world Where mercy walks the plank Life is in mirrors Death disappears Up the steps into the nearest bank.

We live in a political world Where courage is a thing of the past Houses are haunted Children unwanted The next day could be your last.

We live in a political world

754

political world

The one we can see and feel But there’s no one to check It’s all a stacked deck We all know for sure that it’s real.

We live in a political world In the cities of lonesome fear Little by little You turn in the middle But you’re never sure why you’re here.

We live in a political world Under the microscope You can travel anywhere And hang yourself there You always got more than enough rope.

We live in a political world Turning and trashing about As soon as you’re awake You’re trained to take What looks like the easy way out.

We live in a political world Where peace is not welcome at all It’s turned away from the door To wonder some more Or put up against the wall.

We live in a political world Everything is hers and his Climb into the frame And shout God’s name But you’re never sure what it is.

755

Oh Mercy

Where Teardrops Fall Words and music Bob Dylan.

Released on Oh Mercy (1989).

Tabbed by Jeff Kokosinski, with slight emendations by Eyolf Østrem.

D’ in the last line of the verses is basically a D and a G played at the same time on different guitars.

It can be emulated by playing a Dsus4 chord (xx0233).

G Far away where the soft winds blow C Eb Far away from it all G There is a place you go G D’ G Where teardrops fall.

Far away in the stormy night Far away and over the wall You are there in the flickering light Where teardrops fall.

C We banged the drum slowly And played the fife lowly G You know the song in my heart C In the turning of twilight In the shadows of moonlight Cm D You can show me a new place to start.

I’ve torn my clothes and I’ve drained the cup Strippin’ away at it all Thinking of you when the sun comes up Where teardrops fall.

By rivers of blindness In love and with kindness We could hold up a toast if we meet To the cuttin’ of fences To sharpen the senses That linger in the fireball heat.

Roses are red violets are blue And time is beginning to crawl I just might have to come to see you Where teardrops fall.

756

everything is broken

Everything is Broken Words and music Bob Dylan.

Released on Oh Mercy (1989).

Tabbed by Eyolf Ă&#x2DC;strem Basic riff: E |-----------------| |-----------------| |-----------------| |-----------------| |-------0-1-2-1-2-| |-0-0-3-----------|

A |-----------------| |-----------------| |-----------------| |-------0-1-2-1-2-| |-0-0-3-----------| |-----------------|

Dobro fills: : . . . : . . . |-----------------|---------4-4---4-| |-------------3-5-|---------5-5---5-| |-----------4-----|-----------------| |-----------------|-----------------| |-----------------|-----------------| |-----------------|-----------------| E Broken lines broken strings Broken threads broken springs A Broken idols broken heads E People sleeping in broken beds B Ainâ&#x20AC;&#x2122;t no use jiving A Ainâ&#x20AC;&#x2122;t no use joking E Everything is broken.

Broken bottles broken plates Broken switches broken gates Broken dishes broken parts Streets are filled with broken hearts Broken words never meant to be spoken Everything is broken.

B Seem like every time you stop and turn around A Something else just hit the ground Broken cutters broken saws

757

Oh Mercy

Broken buckles broken laws Broken bodies broken bones Broken voices on broken phones Take a deep breath feel like you’re chokin’ Everything is broken.

Everytime you leave and go off someplace Things fall to pieces in my face Broken hands on broken ploughs Broken treaties broken vows Broken pipes broken tools People bending broken rules Hound dog howling bullfrog croaking Everything is broken.

Outtake version Lyrics transcribed by Dag B Broken nights, broken days, Broken leaves on broken trees, Broken treaties, broken vows, Broken hands on broken plows.

Ain’t no use runnin’, honey, Ain’t no use jokin’ Nothing’s workin’ Everything is broken.

Broken lives, hangin’ by a thread, Broken bones in a broken bed, Broken mirror, broken chair, Broken roads, goin’ nowhere.

Broken words never meant to be spoken, Can’t help it, honey, Everything broken.

I send you roses once from a heart that was truly grieved Send you roses someone else must have received Broken clock, on a broken wall Broken voices in a broken hall Broken beginnings, broken ends Streets are filled with broken friends Take a deep breath, baby, feel like you’re chokin’, Tell me the truth now, Everything broken.

Seen James Dean in a picture once, comin’ in from the cold Say, geez, I hope I look that good, if I get to be that old Broken Broken Broken Broken

758

flesh on a broken floor, key, for a broken door idols, broken heroes, numbers, addin’ up to zeroes

everything is broken

Hound dog’s howling, bull frog’s croakin’, It ain’t easy, baby, Everything broken.

759

Oh Mercy

Ring Them Bells Words and Music by Bob Dylan Released on Oh Mercy (1989).

Tabbed by Eyolf Østrem I think this song is originally in C] major or some other unplayable key :-). Anyway, put in C, it is perfectly playable on a guitar. The initial rush down takes some practice, but it can be done.

Otherwise, just replace everything between the two plain C’s with a sustained C.

C Ring C Ring

/b them /b them

Am /g F C/e Dm C F/g C bells, ye heathen From the city that dreams, Am /g F C/e Dm C G bells from the sanctuaries Cross the valleys and streams, F C For they’re deep and they’re wide F And the world’s on its side C /b Am /g F C/e Dm C F/g C And time is running backwards And so is the bride.

C G/b Am G/b

Am C

Ring them bells St. Peter Where the four winds blow, Ring them bells with an iron hand So the people will know.

Oh it’s rush hour now On the wheel and the plow And the sun is going down Upon the sacred cow.

Ring them bells Sweet Martha, For the poor man’s son, Ring them bells so the world will know That God is one.

Oh the shepherd is asleep Where the willows weep And the mountains are filled With lost sheep.

C G/b Am Ring them bells G/b C for the blind and the deaf, G/b Am Ring them bells G/b C for all of us who are left, C G/b Am Ring them bells Am/g# for the chosen few Am/g Who will judge the many D7/f# when the game is through.

F Ring them bells, C/e for the time that flies,

760

ring them bells

Dm7 For the child that cries F/g When innocence dies.

Ring them bells St. Catherine From the top of the room, Ring them from the fortress For the lilies that bloom.

Oh the lines are long And the fighting is strong And theyâ&#x20AC;&#x2122;re breaking down the distance Between right and wrong.

G F G F C /b Am /g F C/e Dm C F/g

C

761

Oh Mercy

Man In The Long Black Coat Words and music Bob Dylan.

Released on Oh Mercy (1989).

Tabbed by Eyolf Østrem

F#m A E C#m Crickets are chirpin’, the water is high, F#m A E F#m There’s a soft cotton dress on the line hangin’ dry.

F#m A E C#m Window wide open, African trees F#m A E F#m Bent over backwards from a hurricane breeze.

E Not a word of goodbye, not even a note F#m A E F#m She gone with the man in the long black coat.

Somebody seen him hangin’ around At the old dance hall on the outskirts of town.

He looked into her eyes when she stopped him to ask If he wanted to dance, he had a face like a mask.

Somebody said from the bible he’d quote There was dust on the man in the long black coat.

Preacher was talking, there’s a sermon he gave He said every man’s conscience is vile and depraved You cannot depend on it to be your guide When it’s you who must keep it satisfied It ain’t easy to swallow, it sticks in the throat She gave her heart to the man in the long black coat.

D There are no mistakes in F#m It is true sometimes you D But people don’t live or F#m A She went with the man in

A life some people say E F#m can see it that way A die people just float E F#m the long black coat.

There’s smoke on the water, it’s been there since June Tree trunks unprooted ’neath the high crescent moon Feel the pulse and vibration and the rumbling force Somebody is out there beating on a dead horse She never said nothing, there was nothing she wrote She gone with the man in the long black coat.

762

most of the time

Most of the Time Words and music Bob Dylan.

Released on Oh Mercy (1989).

Tabbed by Eyolf Østrem

F |:C . . . |F . . . :| C Most of the time F I’m clear focused all around C Most of the time F I can keep both feet on the ground Am F I can follow the path, I can read the sign Am F Stay right with it when the road unwinds C F I can handle whatever I stumble upon Am F I don’t even notice she’s gone C Most of the time.

Most of the time it’s well understood Most of the time I wouldn’t change it if I could I can make it all match up I can hold my own I can deal with the situation right down to the bone I can survive and I can endure And I don’t even think about her Most of the time.

Most of the time my head is on straight Most of the time I’m strong enough not to hate I don’t build up illusion ’til it makes me sick I ain’t afraid of confusion no matter how thick I can smile in the face of mankind Don’t even remember what her lips felt like on mine Most of the time.

Am Most of the time C she ain’t even in my mind Am I wouldn’t know her if I saw her C She’s that far behind

763

Oh Mercy

E Most of the time Am I can’t even be sure E If she was ever with me Am F/g Or if I was ever with her Most of the time I’m halfway content Most of the time I know exactly where it went I don’t cheat on myself I don’t run and hide Hide from the feelings that are buried inside I don’t compromise and I don’t pretend I don’t even care if I ever see her again Most of the time.

764

what good am i?

What Good Am I? Words and music Bob Dylan.

Released on Oh Mercy (1989).

Tabbed by Jeff Kokoskinski and Eyolf Østrem Capo 4th fret (sounding key E major)

C What good C If I just Am If I shut F C What good What If I If I What

F Csus4 C am I if I’m like all the rest F C turn away when I see how you’re dressed Em myself off so I can’t hear you cry F C am I ?

F C

good am I if I know and don’t do see and don’t say if I look right through you turn a deaf ear to the thunderin’ sky good am I ?

What good am I while you softly weep And I hear in my head what you say in your sleep And I freeze in the moment like the rest who don’t try What good am I ?

Am What good am I then to others and me Em If I’ve had every chance and yet still fail to see Am /d (n.c.) Am If my hands are tied must I not wonder within Em Dm Who tied them and why and where must I have been.

What good am I if I say foolish things And I laugh in the face of what sorrow brings And I just turn my back while you silently die What good am I ?

765

Oh Mercy

Disease of Conceit Words and music Bob Dylan.

Released on Oh Mercy (1989).

Tabbed by Eyolf Østrem Piano song, black keys, capo on the 1st fret (sounding key C] major)

C C/e There’s a whole lot of people suffering tonight F C/e F from the disease of conceit D/f# Whole lot of people struggling tonight F/g from the disease of conceit Am C/g F C Comes right down the highway straight down the line Am C/g F C Rips into your senses through your body and your mind D/f# C/g Nothing about it that’s sweet F/g C The disease of conceit.

There’s a whole lot of hearts breaking tonight from the disease of conceit Whole lot of hearts shaking tonight from the disease of conceit Steps into your room eats into your soul Over your senses you have no control Ain’t nothing too discreet about the disease of conceit.

There’s a whole lot of people dying tonight from the disease of conceit Whole lot of people crying tonight from the disease of conceit Comes right out of nowhere and you’re down for the count From the outside world the pressure will mount Turn you into a piece of meat The disease of conceit.

Am C/g Conceit is a disease F C that the doctors got no cure Am C/g They’ve done a lot of research on it D/f# F/g but what it is they’re still not sure There’s a whole lot of people in trouble tonight from the disease of conceit Whole lot of people seeing double tonight

766

disease of conceit

from Give Give Then From

the disease of conceit you delusions of grandeur and evil eye you the idea that youâ&#x20AC;&#x2122;re too good to die they bury you from your head to your feet the disease of conceit.

767

Oh Mercy

What Was It You Wanted?

Words and music Bob Dylan Released on Oh Mercy (1989).

Tabbed by Eyolf Østrem

C#m What was it you wanted Tell me again so I’ll know What’s happening in there, What’s going on in your show F#m What was it you wanted Could you say it again?

C#m I’ll be back in a minute You can get it together by then.

E

G#m

C#m

What was it you wanted You can tell me I’m back We can start it all over Get it back on the track You got my attention Go ahead speak What was it you wanted When you were kissing my cheek?

Was there somebody looking When you gave me that kiss Someone there in the shadows Someone that I might have missed?

Is there something you needed Something I don’t understand.

What was it you wanted.

Do I have it here in my hand?

G#m Whatever you wanted Slipped out of my mind Would you remind me again, If you’d be so kind Has the record been breaking Did the needle just skip Is there somebody waiting Was there a slip of the lip?

What was it you wanted, I ain’t keeping score

768

what was it you wanted?

Are you the same person That was here before?

Is it something important Maybe not.

What was it you wanted?

Tell me again I forgot.

Whatever you wanted What could it be Did somebody tell you That you could get it from me Is it something that comes natural, Is it easy to say, Why do you want it, Who are you anyway?

Is the scenery changing, Am I getting it wrong Is the whole thing going backwards Are they playing our song?

Where were you when it started Do you want it for free What was it you wanted Are you talking to me?

769

Oh Mercy

Shooting Star Words and music Bob Dylan.

Released on Oh Mercy (1989) and in a live version on Unplugged (1995).

Tabbed by Eyolf Østrem B” (in the bridge) is a chord with a whole lot of tones in it, on several guitars, playing quite different chords. A good approximation is x22324.

In the outtake version the song is clearly played in C, with a capo on the 4th fret (see below). On Unplugged Dylan plays his licks without a capo, while Jackson uses the capo on the 4th fret.

E E A E

E/g# E/g# B E/g#

A A E A

E A E

E E/g# Seen a shooting star tonight A E And I thought of you E E/g# You were trying to break into another world A A world I never knew A B I always kind of wondered E A if you ever made it through E E/g# Seen a shooting star tonight A E And I thought of you.

Seen a shooting star tonight And I thought of me If I was still the same If I ever became what you wanted me to be Did I miss the mark or overstep the line that only you could see Seen a shooting star tonight And I thought of me.

C#m /c Listen to the engine listen to the bell /b /a# As the last firetruck from hell A B E goes rolling by, all good people are praying C#m /c It’s the last temptation the last account /b /a# The last time you might hear the sermon on the mount A B” The last radio is playing.

770

Seen a shooting star tonight slip away Tomorrow will be another day Guess itâ&#x20AC;&#x2122;s too late to say the things to you that you needed to hear me say Seen a shooting star tonight slip away.

Capoed version (capo 4th fret) C C/e Seen a shooting star tonight F C And I thought of you C C/e You were trying to break into another world F A world I never knew F G I always kind of wondered C F if you ever made it through C C/e Seen a shooting star tonight F C And I thought of you. ...

Am /g# Listen to the engine listen to the bell /g /f# As the last firetruck from hell F G C goes rolling by, all good people are praying Am /g# Itâ&#x20AC;&#x2122;s the last temptation the last account /g /f# The last time you might hear the sermon on the mount F F/g The last radio is playing.

(The Unplugged version has F D9 The last radio is playing.

with D9 = x57555 or something like that.

Also the Fs are occasionally played Fmaj7 (133210)

771

32 Under The Red Sky Recorded January–March 1990 — Released September 11, 1990

774 775 776 778 784 785 786 787 791 793

Wiggle Wiggle Under the Red Sky Unbelievable Born in Time T.V. Talkin’ Song 10,000 Men 2x2 God Knows Handy Dandy Cat’s in the Well

Under The Red Sky

Wiggle Wiggle Written by Bob Dylan (this must have been a central piece in his nomination for the Nobel Prize) Released on Under The Red Sky (1990) Tabbed by Eyolf Østrem

F# Bm Wiggle, wiggle, Bm Wiggle, wiggle, Bm Wiggle, wiggle, F# [n.c.]

Wiggle ’til the

A E wiggle like a gypsy queen, A E wiggle all dressed in green, D E F# wiggle ’til the moon is blue, moon sees you.

Wiggle, wiggle, wiggle in your boots and shoes, Wiggle, wiggle, wiggle, you got nothing to lose, Wiggle, wiggle, wiggle, like a swarm of bees, Wiggle on your hands and knees.

E Wiggle Bm Wiggle E Wiggle F# Wiggle

(F#) to the front, wiggle to the rear, ’til you wiggle right out of here, ’til it opens, wiggle ’til it shuts, ’til it bites, wiggle ’til it cuts.

Wiggle, wiggle, wiggle Wiggle, wiggle, wiggle Wiggle, wiggle, wiggle Wiggle - you can raise Wiggle Wiggle Wiggle Wiggle

’til ’til ’til ’til

like a bowl of soup, like a rolling hoop, like a ton of lead, the dead.

you’re high, wiggle ’til you’re higher, you vomit fire, it whispers, wiggle ’til it hums, it answers, wiggle ’til it comes.

Wiggle, wiggle, wiggle like satin and silk, Wiggle, wiggle, wiggle like pail of milk, Wiggle, wiggle, wiggle, rattle and shake, Wiggle like a big fat snake.

774

under the red sky

Under the Red Sky Words and music Bob Dylan Released on Under The Red Sky (1990) Tabbed by Eyolf Ă&#x2DC;strem * The B is really an A/B chord

E A/E There was a little boy A And they lived in an alley C#m There was a little boy and F#m7 And they lived in an alley

E

A/E E and there was a little girl D/A A E A/E E under the red sky.

G#m there was a little girl B* E under the red sky.

There was an old man and he lived in the moon, One summerâ&#x20AC;&#x2122;s day he came passing by.

There was an old man and he lived in the moon, And one day he came passing by.

G B E Someday little girl, everything for you is gonna be new G F#m7 B Someday little girl youâ&#x20AC;&#x2122;ll have a diamond as big as your shoe Let One Let One

the day the day

wind blow low, the little boy wind blow low, the little boy

let and let and

the the the the

wind blow high. little girl were both baked in a pie. wind blow high. little girl were both baked in a pie.

This is the key to the kingdom and this is the town This is the blind horse that leads you around Let One Let The

the day the man

bird sing, let the bird fly, the man in the moon went home and the river went dry. bird sing, let the bird fly, in the moon went home and the river went dry.

775

Under The Red Sky

Unbelievable Written by Bob Dylan Released on Under The Red Sky (1990) Tabbed by Eyolf Østrem The basic chord is some kind of Em or Em7, but with hints of E and E7 as well.

This little thing goes through the whole song: Em A Em |-0---0---0---0---| |-0---0---2---0---| |-0---0---2---0---| |-2---------------| |-2---------------| |-0---------------|

combination with a bass: e

.

a

c

Em It’s unbelievable, it’s strange but true, It’s inconceivable it could happen to you.

You go north and you go south Just like bait in the fish’s mouth.

B Ya must be livin’ in the shadow of some kind of evil star.

Em It’s unbelievable it would get this far.

It’s undeniable what they’d have you to think, It’s indescribable it can drive you to drink.

They said it was the land of milk and honey, now they say it’s the land of money.

Who ever thought they could ever make that stick.

It’s unbelievable you can get this rich this quick.

B Every head is so dignified, every moon is so sanctified, A Every urge is so satisfied as long as you’re with me.

B All the silver, all the gold, all the sweethearts you can hold A That don’t come back with stories untold, are hanging on a tree.

It’s unbelievable like a lead balloon, It’s so impossible to even learn the tune.

Kill that beast and feed that swine, Scale that wall and smoke that vine,

776

unbelievable

Beat that horse and saddle up the drum.

It’s unbelievable, the day would finally come.

Once there was a man who had no eyes, He stood beneath the silver skies and Every brain is civilized, every nerve Everything is criticized when you are

every lady in the land told him lies, his heart began to bleed. is analyzed, in need.

It’s unbelievable, it’s fancy-free, So interchangeable, so delightful to see.

Turn your back, wash your hands, There’s always someone who understands It don’t matter no more what you got to say It’s unbelievable it would go down this way.

777

Under The Red Sky

Born in Time Words and Music by Bob Dylan Recorded (but not released) for Oh Mercy (1989), released in a different version on Under The Red Sky (1990) Tabbed by Eyolf Østrem

Intro (guitar part): : . . . |-------------------| |-3h5-3-------3-5---| |-------4-2---------|x2 |-----------5-------| |-------------------| |-------------------|

(piano part, main melody): : . . . : . . . |-7-5-----------5-|-7---7-5---------| |-----8-5---5-8---|---------8---8---| |---------7-------|-----------------| |-----------------|-----------------| |-----------------|-----------------| |-----------------|-----------------|

Or taken together: : . . . : . . . |-7-5-3-0---0-3-5-|-7---7-5-3---3---| |-5-3-0---3-3-5---|-5---------3-5---| |-------2-0-------|---7-4-2-0-------| |-----------------|-----------------| |-----------------|-----------------| |-----------------|-----------------| G In the lonely night Em In the blinking stardust of a pale blue light Am7 You’re comin’ thru to me in black and white C Cm G When we were made of dreams.

You’re blowing down the shaky street, You’re hearing my heart beat In the record breaking heat Where we were born in time.

G D Not one more night, not one more kiss, C G/B Not this time baby, no more of this.

G D Takes too much skill, takes too much will.

G It’s too revealing.

G D You came, you saw, just like the law C G/B You married young, just like your ma, G Am You tried and tried, you made me slide

778

born in time

D You left me reelin’ G/B C with this feelin’.

On the rising curve Where the ways of nature will test every nerve, You won’t get anything you don’t deserve Where we were born in time.

You pressed me once, you pressed me twice, You hang the flame, you’ll pay the price.

Oh babe, that fire Is still smokin’.

You were snow, you were rain You were striped, you were plain, Oh babe, truer words Have not been spoken or broken.

In the hills of mystery, In the foggy web of destiny, You can have what’s left of me, Where we were born in time.

Oh mercy Outtake Chords: C#m F#m7 B’ A’

x46650 244200 (use the thumb) 799800 577600

E In the lonely night C#m In the stardust of a pale blue light F#m7 I think of you in black and white Am E When we were made of dreams.

I walk alone through the shakin’ street, Listening to my heart beat In the record breaking heat When we were born in time.

E B’ Just when I knew

779

Under The Red Sky

A’ E you were gone, you came back B’ Just when I knew E It was for certain E B’ You were high, you were low A’ E You were so easy to know F#m7 B’ Oh babe, now is time to raise the curtain A’ I’m hurtin’.

On the rising curve Where the ways of nature will test every nerve, I took you close and got what I deserved When we were born in time.

Just when I knew who to thank, you went blank And just when the whole fires was smokin’ You were snow, you were rain You were stripes, you were plain Oh babe, truer words Have not been spoken or broken.

In the hills of mystery, In the foggy web of destiny, I think of you from deep inside of me, When we were born in time.

“Love Sick” single version Recorded Aug. 1997 Chords in Larry Campbell’s guitar: C#madd9 F#m7 Am7-5

xx6640 (played broken, not spoken) 202222 xx4555

E C#m : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| |-----------------|---------------2-|/4-----4/4-------|-----4-6-4-------| |-0-----0-0-------|-------0-0-2-4---|-----------------|-----------7-4-0-|

780

born in time

F#m(7) Am7-5 E : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|------------------|-----|-----------------|-----------------|-----------------|------------------|-----|-----------------|-----------------|-----------------|------------------|-----|-----------------|-----------------|--------/9---7-6-|--------2---------|-----|-----------------|-----------------|-----------7-----|-----2h4--4-2-----|-----|-2-----4-2-------|-----2-4-5---5---|-4---------------|--------------4-2-|-0---In the lonely...

(2nd time:) : . . . |-----------------| |-------------1---| |-------0---2-----| |-----4---2-------| |---4-------------| |-2---------------| E In the lonely night C#madd9 In the shadows of a pale blue light F#m7 I think of you in black and white Am7-5 E When we were made of dreams.

I walk along through the shaking street, I’m listening to my heart beat In the record breaking heat Where we were born in time. : . . . : |-----------------|----|-----------------|----|--------/5--4--2-|-1--|--------/7--6--4-|-2--|-----------------|----|-----------------|----time E (B-E) B (F#-B) Not one more night, not one more kiss, A E/g# Not this time, I’ll have no more of this.

E B It’s much too cold, it’s much too old E Way too revealing.

E (B-E) B (F#-B) You came, you saw, just like the law A E/g# You married young, just like your ma, E F#m Oh babe, how you loved me B reelin’

781

Under The Red Sky

E/g# Aadd9 with this fee - lin’.

E (B-E) B (F# B) B(/d#) E/g# Aadd9 : . . . : . . . : . . . : . . . ||-----------------|-----------------||-----------------|-0-0-------------| ||-----4-5---------|-----------------||-4---------------|-0-0-------------| ||-----------------|-----3-4---------||-4---------------|-x-6-------------| ||-----4-6---------|-----------------||-4---------------|-6-7-------------| ||-----------------|-----4-6---------||-6---------------|-7-7-------------| ||-----------------|-----------------||(7)--------------|-4-5-------------| night... kiss ..reelin’ with this feeling : . . . |-0---------------------| |-----------------------| |-4h6p4---4h6-----------| |------6------6\4-2---2˜| |-------------------4---| |-----------------------| Upon the rising...

On the rising curve Where the ways of nature will test every nerve, I took you close and got what I deserved When we were born in time.

[2nd times intro] You pressed me once, you pressed me twice, You hung the flame, then you paid the price.

Oh babe, and that fire It’s still smokin’.

You were snow, you were rain You were striped, Lord, and you were plain, Oh baby, truer words Have never been spoken or broken.

In the hills of mystery, In the foggy web of destiny, You can have what’s left of me, Where we were born in time.

Am7-5 E . . : . . . : . . . : . . . : . . . |-----5---|-4-----4---------|-------0---0---0-||-----0-----0---0-|-----------------| |---------|-----0-----0---0-|-----------------||---5-------------|---------------2-| |---5-----|---4-----4---4---|-4---4---6---8---||-9-----8-----6---|-4p2-1-------1---| |-4-------|-----------------|-----------------||-----------------|-----------2-----| |---------|-----------------|-----------------||-----------------|-----------------| |---------|-----------------|-----------------||-----------------|-----------------| ..born in time

782

born in time

C#m F#m Am7-5 E : . . . : . . . : . . . : . . . |-----------------|-----------0-----|---5---4-2---2/4-|-2---2/4-5---5---|-4------|/5-5-5-4---4-2---|h2-2-2-2-----2-0-|-----------------|-----------------|--------|/6-6-6-4---4-1---|-1---------------|/6---6-4-2---2/4-|-2---2/4-5---5---|-4------|------------(2---|-2)--------------|-----------------|-----------------|--------|-----------------|-----------------|-----------------|-----------------|--------|-----------------|-----------------|-----------------|-----------------|---------

etc

783

Under The Red Sky

T.V. Talkin’ Song Written by Bob Dylan Released on Under The Red Sky (1990) On this one, Eyolf Østrem commented: Go to bobdylan.com, get the lyrics, pick any chord and stay there.

One time in London I’d gone out for a walk, Past a place called Hyde park where people talk ’Bout all kinds of different gods, they have their point of view To anyone passing by, that’s who they’re talking to.

There was About the "It’s too If you’ve

someone on a platform talking to the folks T.V. god and all the pain that it invokes. bright a light", he said, "For anybody’s eyes, never seen one it’s a blessing in disguise."

I moved in closer, got up on my toes, Two men in front of me were coming to blows The man was saying something ’bout children when they’re young Being sacrificed to it while lullabies are being sung.

"The news of the day is on all the time, All the latest gossip, all the latest rhyme, Your mind is your temple, keep it beautiful and free, Don’t let an egg get laid in it by something you can’t see."

"Pray for peace!". he said, you could feel it in the crowd.

My thoughts began to wander. His voice was ringing loud, "It will destroy your family, your happy home is gone No one can protect you fro it once you turn it on."

"It will led you into some strange pursuits, Lead you to the land of forbidden fruits.

It will scramble up your head and drag your brain about, Sometimes you gotta do like Elvis did and shoot the damn thing out."

"It’s all been designed", he said, "To make you lose your mind, And when you go back to find it, there’s nothing there to find."

"Everytime you look at it, your situation’s worse, If you feel it grabbing out for you, send for the nurse."

The crowd began to riot and they grabbed hold of the man, There was pushing, there was shoving and everybody ran.

The T.V. crew was there to film it, they jumped right over me, Later on that evening, I watched it on T.V..

784

10,000 men

10,000 Men Written by Bob Dylan Released on Under The Red Sky (1990) Tabbed by Eyolf Østrem

Bb7 Ten thousand men on a hill, Ten thousand men on a hill, F Bb7 Some of ’m goin’ down, some of ’m gonna get killed.

Ten thousand men dressed in oxford blue, Ten thousand men dressed in oxford blue, Drummin’ in the morning, in the evening they’ll be coming for you.

Ten thousand men on the move, Ten thousand men on the move, None of them doing nothin’ that your mama wouldn’t disapprove.

Ten thousand men digging for silver and gold, Ten thousand men digging for silver and gold, All clean shaven, all coming in from the cold.

Hey! Who could your lover be?

Hey! Who could your lover be?

Let me eat off his head so you can really see!

Ten thousand women all dressed in white, Ten thousand women all dressed in white, Standin’ at my window wishing me goodnight.

Ten thousand men looking so lean and frail, Ten thousand men looking so lean and frail, Each one of ’em got seven wives, each one of ’em just out of jail.

Ten thousand women all sweepin’ my room, Ten thousand women all sweepin’ my room, Spilling my buttermilk, sweeping it up will a broom.

Ooh, baby, thank you for my tea!

Baby, thank you for my tea!

It’s so sweet of you to be so nice to me.

785

Under The Red Sky

2x2 Written by Bob Dylan Released on Under The Red Sky (1990) Tabbed by Eyolf Østrem F C Bb F6 : . . . : . . . : . . . : |--1st guitar-----|-\---3-----------|-1---------------|-10----------|--(12 string)----|--\--5-----------|-3---------------|-10----------|-----------------|---\-5-----------|-3---------------|-10----------|-------2-3-2-----|-2--\------------|-----------------|-10-/--------|-0-1-3------31-3-|-----\----2nd----|-----------------|---/(5-3)----|-----------------|------\--guitar--|-----------------|--/1st guitarF One by one, they followed the sun, One by one, until there were none.

Dm C F Two by two, to their lovers they flew, Dm (C) F Two by two, into the foggy dew.

Three by three, they danced on the sea, Four by four, they danced on the shore, Five by five, they tried to survive, Six by six, they were playing with tricks.

Bb How many paths did they try and fail?

F F7 How many of their brothers and sisters lingered in jail?

Bb How much poison did they inhale?

F C How many black cats crossed their trail?

Seven by seven, they headed for heaven, Eight by eight, they got to the gate, Nine by nine, they drank the wine, Ten by ten, they drank again.

How How How How

many many many many

tomorrow’s have they given away? compared to yesterday? more without any reward? more can they afford?

Two by two, they stepped into the ark, Two by two, they step in the dark.

Three by three, they’re turning the key, Four by four, they turn it some more, One by one, they follow the sun, Two by two, to another rendezvous.

786

god knows

God Knows Words and music Bob Dylan Recorded – and discarded – for Oh Mercy, but given a second chance on Under The Red Sky (1990).

May not have come out perfectly in the studio, but live this is a gem.

I give two versions: one with G chords, the other with E chords. Both seem to have been used, but what he plays in concerts it is actually the E version, although the intro (before the band enters) sounds suspiciously like his dear old G-C/g-G turn.

Under the Red Sky version Capo 3rd fret (sounding key B[ major) The last three verses are played without the G+ – Em/b in the second half – just plain G-C/g all the way through.

G C/g God knows you ain’t pretty, G C/g God knows it’s true.

G G+ God knows there ain’t anybody Em/b G Ever gonna take the place of you.

God God God But

knows it’s a struggle, knows it’s a crime, knows there’s gonna be no more water fire next time.

C God don’t call it treason, G God don’t call it wrong, A It was s’posed to last a season D But it’s been so strong for so long.

God knows God knows God knows Just like

it’s fragile, everything, it could snap apart right now putting scissors to a string.

God knows it’s terrifying, God sees it all unfold, There’s a million reasons for you to be crying You been so bold and so cold.

God knows that when you see it, God knows you’ve got to weep, God knows the secrets of your heart, He’ll tell them to you when you’re asleep.

787

Under The Red Sky

God knows there’s a river, God knows how to make it flow, God knows you ain’t gonna be taking Nothing with you when you go.

God knows there’s a purpose, God knows there’s a chance, God knows you can rise above the darkest hour Of any circumstance.

God knows there’s a heaven, God knows it’s out of sight, God knows we can get all the way from here to there Even if we’ve got to walk a million miles by candlelight.

To match the live renditions, the verses would have to go (Eb = (e.g.) 3110xx): G C/g God knows you ain’t pretty, G C/g God knows it’s true.

G Eb God knows there ain’t anybody C G Ever gonna take the place of you.

Version in E As performed 090893 (capo usually on the 3rd fret live, 6th to match the album version).

G’ means: 30000x (bend the 6th string) E A/e (G’) God knows I love you, E A/e (G’) God knows it’s true.

E C God knows that there ain’t anybody A E |: A/e Ever gonna take the place of you.

God knows God knows God knows Just like

it’s fragile, everything, it could snap apart right now putting scissors to a string.

|E . A/e

.G’ |E . . . |

A God don’t call it treason, E God don’t call it wrong, F# It was supposed to last a season

788

G’ E :|

god knows

B But it’s been so strong for so long.

God God God you

A

knows there’s a river, knows how to make it flow, knows, when you leave this place ain’t taking nothing with you when you go.

God knows it’s terrifying, God sees it all unfold, There’s a million reasons for you to be crying You been so bold and so cold.

God knows there’s a purpose, God knows there’s a chance, God knows you can rise above the darkest hour Of any circumstance.

1995 version (lyric changes) As performed in Philadelphia, Jun 21, 1995 E A/e (G’) God knows I need you, E A/e (G’) God knows it’s true.

E C God knows ain’t gonna be anybody A E |: A/e G’ E :| Ever in the world like you.

God God God But

knows it’s a struggle, knows it’s a crime, knows ain’t gonna be no more water fire next time.

|E . A/e

.G’ |E . . . |

A God don’t say it’s treason, E God don’t say it’s wrong, F# It was supposed to last a season B But it’s been so strong for so long.

A

God knows there’s a purpose, God knows there’s a chance, God knows you can rise above the darkest hour Of any circumstance. [full band enters]

789

Under The Red Sky

God knows it’s terrifying, God sees it all unfold, There’s a million reasons to be lying You been so bold and so cold.

God knows there’s a river, God knows how to make it flow, God knows, you ain’t gonna be taking nothing with you when you go.

790

handy dandy

Handy Dandy Words and music Bob Dylan Released on Under The Red Sky (1990) Tabbed by Eyolf Østrem Sounding key B[ major. I’d suggest a capo somewhere – 1st or 3rd frets are good suggestions.

Chords: Plain Bb Eb F Cm Fsus4

Capo 1st A D E Bm Esus4

Capo 3rd G C D Am Dsus4

The “Fsus4” in the last line of the bridge is a chord with a lot of tones in it – play e.g. Fsus4, F11 or B[/f.

Bb Eb F Eb Bb Eb F Eb Handy dandy, controversy surrounds him Bb Eb He been around the world and back again F Eb Bb Eb F Eb Something in the moonlight still hounds him Bb Eb F Eb Bb Eb F Handy dandy, just like sugar and candy Handy dandy, if every bone in his body was broken he would never admit it He got an all girl orchestra and when he says "Strike up the band", they hit it Handy dandy, handy dandy Cm You say, "What are ya made of?"

Bb He says, "Can you repeat what you said?"

Cm You’ll say, "What are you afraid of?"

Fsus4 F He’ll say, "Nothin’ neither ’live nor dead."

Handy dandy, he got a stick in his hand and a pocket full of money He says, "Darling, tell me the truth, how much time I got?"

She says, "You got all the time in the world, honey."

Handy dandy, Handy dandy He’s He’s He’s With

got that clear crystal fountain got that soft silky skin got that fortress on the mountain no doors, no windows, no thieves can break in

Handy dandy, sitting with a girl named Nancy in a garden feelin’ kind of lazy

791

Under The Red Sky

He says, "Ya want a gun? Iâ&#x20AC;&#x2122;ll give you one." She says, "Boy, you talking crazy."

Handy dandy, just like sugar and candy Handy dandy, pour him another brandy Handy dandy, he got a basket of flowers and a bag full or sorrow He finishes his drink, he gets up from the table he says, "Okay, boys, Iâ&#x20AC;&#x2122;ll see you tomorrow."

Handy dandy, handy dandy, just like sugar and candy Handy dandy, just like sugar and candy

792

Cat’s in the Well Written by Bob Dylan Released on Under The Red Sky (1990) Tabbed by Eyolf Østrem F7-10 x8789x Bb Eb F7-10 : . . . : . . . : . . . |-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------| |-----------------|---------6-6-8---|-------8---------| |---------6-6-8---|-------8---------|---------8-8-7---| |-------8---------|-6---------------|-8---------------| |-6---------------|-----------------|-----------------| Bb7 The cat’s in the well, the wolf is looking down.

Eb7 The cat’s in the well, the wolf is looking down.

F7-10 Bb He got his big bushy tail dragging all over the ground.

The cat’s in the well, the gentle lady is asleep.

Cat’s in the well, the gentle lady is asleep.

She ain’t hearing a thing, the silence is a-stickin’ her deep.

Gm Eb Bb The cat’s in the well and grief is showing its face Gm F The world’s being slaughtered and it’s such a bloody disgrace.

The cat’s in the well, the horse is going bumpety bump.

The cat’s in the well, and the horse is going bumpety bump.

Back alley Sally is doing the American jump.

The cat’s in the well, and pappa is reading the news.

His hair is falling out and all of his daughters need shoes.

The cat’s in the well and the barn is full of bull The cat’s in the well and the barn is full of bull The night is so long and the table is oh, so full The cat’s in the well and the servant is at the door.

The drinks are ready and the dogs are going to war.

The cat’s in the well, the leaves are starting to fall The cat’s in the well, leaves are starting to fall Goodnight, my love, may the lord have mercy on us all.

793

33 The Bootleg Series 1-3 Released March 26, 1991

797 799 801 802 803 806 808 810 812 813 816 818 819 821 823 825 828 831 832 ,!119 ,!94 833

Hard Times in New York Town He Was a Friend of Mine Man on the Street No More Auction Block House Carpenter Talking Bear Mountain Picnic Massacre Blues Let Me Die in My Footsteps Rambling Gambling Willie Talkin’ Hava Negeilah Blues Quit Your Low Down Ways Worried Blues Kingsport Town Walkin’ Down the Line Walls of Red Wing Paths of Victory Talkin’ John Birch Paranoid Blues Who Killed Davey Moore?

Only a Hobo Moonshiner When the Ship Comes In The Times They Are A-Changin’ Last Thoughts on Woody Guthrie

837 839 841 843 849 ,!156 852 855 ,!194

Seven Curses Eternal Circle Suze (The Cough Song) Mama, You Been on My Mind Farewell Angelina Subterranean Homesick Blues If You Gotta Go, Go Now Sittin’ on a Barbed-Wire Fence Like a Rolling Stone

The Bootleg Series 1-3

,!202 856 858 860 864 ,!339 866 867 ,!428 ,!476 ,!450

,!465 869 870 871 873 ,!654 875 877 879 ,!680 881 883 884 886 ,!694 888

796

It Takes a Lot to Laugh, It Takes a Train to Cry I’ll Keep It with Mine She’s Your Lover Now I Shall Be Released Santa Fe If Not for You Wallflower Nobody ’Cept You Tangled Up in Blue Call Letter Blues Idiot Wind

If You See Her, Say Hello Golden Loom Catfish Seven Days Ye Shall Be Changed Every Grain of Sand You Changed My Life Need A Woman Angelina Tight Connection to My Heart (Has Anybody Seen My Love) Tell Me Lord, Protect My Child Foot Of Pride Blind Willie McTell When The Night Comes Falling From The Sky Series of Dreams

hard times in new york town

Hard Times in New York Town Written by Bob Dylan, heavily based on “Down on Penny’s Farm” by the Bently Boys Recorded Dec 22, 1961 (“The Minnesota Hotel Tape”, Bonnie Beecher’s appartment), and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Although the guitar playing sounds very casual, it is actually quite well-organized, with a conscious bass line, especially around the end of the verse and the chorus. This concerns particularly the alternation between c and g (5th and 6th string) as bass note for the C chord, and the F/a chord (x03211), to get the bass progression c – a – g – c in the chorus.

The G at the end of the verse and the chorus is basically just a bass tone with hints of other tones added to it, which in some verses make it a G chord, in others a C/g (332010).

The finger picking pattern is (more or less): C F C : . . . : . . . |-----------------|-----------0-----| |---1-------1-----|---1-------------| |-------0-------2-|-------0-------0-| |-----2-------3---|-----2-------2---| |-3---------------|---------3-------| |---------1-------|-3---------------|

C F C Come you ladies and you gentlemen, a-listen to my song.

C F C Sing it to you right, but you might think it’s wrong.

C F C Just a little glimpse of a story I’ll tell C F G ’Bout an East Coast city that you all know well.

C F(/a) It’s hard times in the country, C/g G C Livin’ down in New York town.

Old New York City is a friendly old town, From Washington Heights to Harlem on down.

There’s a-mighty many people all millin’ all around, They’ll kick you when you’re up and knock you when you’re down.

It’s hard times in the country, Livin’ down in New York town.

It’s a mighty long ways from the Golden Gate To Rockefeller Plaza n’ the Empire State.

Mister Empire sets up as high as a bird, Old Mister Rockefeller never says a word.

It’s hard times from the country, Livin’ down in New York town.

Well, it’s up in the mornin’ tryin’ to fins a job of work.

Stand in one place till your feet begin to hurt.

797

The Bootleg Series 1-3

If you go a lot o’ money you can make yourself merry, If you only got a nickel, it’s the Staten Island Ferry.

And it’s hard times in the country, Livin’ down in New York town.

Mister Hudson come a-sailin’ down the stream And old Mister Minuet paid for his dream.

Bought your city on a one-way track, ’F I had my way I’d sell it right back.

And it’s hard times from the country, Livin’ down in New York town.

I’ll take all the smog in Cal-i-for-ne-ay, ’N’ every bit of dust in the Oklahoma plains, ’N’ the dirt in the caves of the Rocky Mountain mines.

It’s all much cleaner than the New York kind.

And it’s hard times in the country, Livin’ down in New York town.

So all you newsy people, spread the news around, You c’n listen to m’ story, listen to m’ song.

You c’n step on my name, you c’n try ’n’ get me beat, When I leave New York, I’ll be standin’ on my feet.

And it’s hard times in the country, Livin’ down in New York town.

798

he was a friend of mine

He Was a Friend of Mine Trad., Bob Dylan (arr) Released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Capo 2nd fret (original key D major) The following figure is the basis of the fingerpicking pattern that he uses throughout, but with many variations along the way. Don’t bother too much about the exact strings neither of the thumb nor the middle strings – what matters is the steady thumb against the syncopated rhythm of the upper strings: C/g : . . . |-------0---------0--------| |-------1---------1--------| |-----0--------------------| |-----------2-----------2--| |-------3-----------3------| |-3-----------3------------|

Intro: G7

C/g

: . . . : . . . : . . . |-------1-----1---------1-|-------1-----------------|-------0-----0---------0-| |-----0-----0-----0-----0-|-------0---0-----0-----0-|-------1-----1---------1-| |-----0-----0-----0-------|-----0-----0-----0-----0-|-----0-----0-----0-------| |-------------------------|-------------------------|-------------------------| |-------------------------|-------------2-----------|-------------------------| |-3-----------------3-----|(3)----------------3-----|-3-----------------3-----| : . . . |-------0-----0-----------| |-------1-----1-----------| |-----0-----0-----0-----0-| |-------------------------| |-------------------------| |-3-----3-----3-----3-----|

etc. full verse

G7 C/g He was a friend of mine G7 C/g He was a friend of mine F C/g Every time I think about him now E Am Lord I just can’t keep from cryin’ C/g G7 C/g ’Cause he was a friend of mine

799

The Bootleg Series 1-3

He died on the road He died on the road He never had enough money To pay his room or board And he was a friend of mine I stole away and cried I stole away and cried ’Cause I never had too much money And I never been quite satisfied And he was a friend of mine He never done no wrong He never done no wrong A thousand miles from home And he never harmed no one And he was a friend of mine He was a friend of mine He was a friend of mine Every time I hear his name Lord I just can’t keep from cryin’ ’Cause he was a friend of mine.

800

man on the street

Man on the Street Words by Bob Dylan, music traditional, from a northern song called “Young man who wouldn’t hoe corn” (thanks to Andrea Baroni for notifying me) Recorded Nov 22, 1961 (Bob Dylan sessions) and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Bass pattern for the third and fourth lines: G Em : . . . : . . . |-------------|--------------|-------------|--------------|-------------|--------------|----0--2--0--|--------------|-------------|-0h2----2-----|-3-----------|-----3-----0---

G . . . Em G . . .

G Well I’ll sing you a song, ain’t very long, Em* ’Bout an old man who never done wrong.

G How he died nobody can say, Em* They found him dead in the street one day.

*|-----0---0-----------0---0|-----0---0-----------0---0|-----0---0-----------0---0|-----2---2-----------2---2|-------------0h2----------|-0---------------0---------

Well, the crowd, they gathered one fine morn, At the man whose clothes ’n’ shoes were torn.

There on the sidewalk he did lay, They stopped ’n’ stared and they went their way.

Well, the p’liceman come and he looked around, "Get up, old man, or I’m a-takin’ you down."

He jabbed him once with his bully club, the old man then rolled off the curb.

Well, he jabbed him again and loudly said: "Call the wagon; this man is dead."

The wagon come, they loaded him in, I never saw the man again.

I’ve sung you my song, it ain’t very long, ’Bout an old man who never done wrong.

How he died no body could say, They found him dead in the street one day.

801

The Bootleg Series 1-3

No More Auction Block Trad. (arr. Bob Dylan) Recorded live at the Gaslight cafe, late 1962. Released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem This is reportedly the melody that Dylan used for Blowin’ in the Wind. This is most evident in the beginning of the verses and in the guitar interlude.

Capo 5th fret (sounding key F major) Played with fast strumming in a rather loose rhythm.

Chords: Csus4 G6 G7 C/e G/d

F C

x33010 322003 or 32200x 323003 or 32300x xx2010 xx0003

F

G C F

Csus4 C

C F No more auction C F No more auction F

C/e G/d

C /b

Am Am

G F

G6 F

G7 C/e G/d

C Am G G6 G7 block for me, no more, no more C Am F C/e G/d /e /f C block for me, many thousand gone.

C

No more driver’s lash for me, no more, no more No more driver’s lash for me, many thousand gone.

No more pint of salt*) for me, no more, no more No more pint of salt for me, many thousand gone.

No more auction block for me, no more, no more No more auction block for me, many thousand gone

*) Dylan sings something like “mmm whiplash”

802

C

house carpenter

House Carpenter Trad (arr. Bob Dylan) Recorded Nov 22, 1961 during the Bob Dylan sessions. Released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Dropped D tuning (D-A-d-g-b-e’) The chords, the little figures and the playing style is the same as in numerous other dropped D-tunes from the early days. And as always, there is some variation in the way the descent D – C9 – G/b is executed. Quite often both in the C9 and in the G/b the bass tone is reached by a hammer-on from the open 5th string.

In the third line there is some variation between the verses concerning which bass tones are played.

Some verses have the version of the interlude written out below, with only C9 – others have the version of the first verse.

Chords: D C9 G/b

000232 x30030 (actually Cadd9) x20030

: . . . : . . . : . . : . . . : |-----------------|-----------------|-------------|-2---2-2-2-------|---|.----3--(3)3-3--.|-----3---3-3-3---|-----3-3-----|-3---3-3-3-------|---|-----2--(2)2-2---|-----2---2-2-2---|-----0-0-----|-2---2-2-2-------|---- etc. |-----0--(0)0-0---|-----0---0-0-0---|-----0-0-----|-0---------------|-0-|.----0--(0)0-0--.|-----------------|-0h3-----2---|-0-----------3---|---|-0---------------|-0---------------|-------------|-0---------------|---D C9 G/b *) Well met, well met, my own true love D C G/b D **) Well met, well met, cried she D C9 G/b I’ve just returned from the salt, salt sea D C) G/b D **) And it’s all for the love of thee I could have married a King’s daughter there She would have married me But I have forsaken my King’s daughter there It’s all for the love of thee

*) the b is often reached by a hammer-on from the open string. **)

: . . . : . |-----2-2-2------------|-----3-3-3------------|-----2-2-2------------|-----------------0-----etc |-------------3--------|-0---------------------

Interlude verse (keep strumming the chords): : . . . : . . . : . . . : . . . |-2---------------|-0-------0-------|-3---------------|----------------|-3---------------|-3-------3-------|-2---------------|----------------|-2---------------|-0-------0-------|-3---------------|----------------|-0---------------|-0-------0-------|-0---------------|-0--------------|-0---------------|-3-------2-------|-0-----------3---|----------------|-0---------------|-----------------|-0---------------|-----------------

803

The Bootleg Series 1-3

: . . . : . . . : . . . : . . . |-2---------------|-0-------0-------|-3---------------|----------------|-3---------------|-3-------3-------|-2---------------|----------------|-2---------------|-0-------0-------|-3---------------|----------------|-0---------------|-0-------0-------|-0---------------|----------------|-0---------------|-3-------2-------|-0---------------|----------------|-0---------------|-----------------|-0---------------|----------------: . . . : . . . : . . . : . . . |-2---------------|-0---------------|-0---------------|-0--------------|-3---------------|-3---------------|-3---------------|-3--------------|-2---------------|-0---------------|-0---------------|-0--------------|-0---------------|-0---------------|-0---------------|-0--------------|-0---------------|-0h3-------------|-0h3-------------|-0h3------------|-0---------------|-----------------|-----------------|----------------: . . . : . . . : . . . : . . . |-2---------------|-0-------0-------|-3---------------|----------------|-3---------------|-3-------3-------|-2---------------|----------------|-2---------------|-0-------0-------|-3---------------|----------------|-0---------------|-0-------0-------|-0---------------|-0--------------|-0---------------|-3-------2-------|-0-----------3---|----------------|-0---------------|-----------------|-0---------------|----------------Well, if you could have married a King’s daughter there I’m sure you’re the one to blame For I am married to a house carpenter And I’m sure he’s a fine young man Forsake, forsake your house carpenter And come away with me I’ll take you to where the green grass grows On the shores of sunny Italy So up she picked her babies three And gave them kisses, one, two, three Saying "take good care of your daddy while I’m gone And keep him good company."

Well, they were sailin’ about two weeks I’m sure it was not three When the younger of the girls, she came on deck Sayin’ she wants company "Well, are you weepin’ for your house and home?

Or are you weepin’ for your babies three?"

"Well, I’m not weepin’ for my house carpenter I’m weepin’ for my babies three."

Oh what are those hills yonder, my love They look as white as snow Those are the hill of heaven, my love You and I’ll never know Oh what are those hills yonder, my love They look as dark as night Those are the hills of hell-fire my love

804

house carpenter

Where you and I will unite Oh twice around went the gallant ship Iâ&#x20AC;&#x2122;m sure it was not three When the ship all of a sudden, it sprung a leak And it drifted to the bottom of the sea

805

The Bootleg Series 1-3

Talking Bear Mountain Picnic Massacre Blues Written by Bob Dylan Recorded Apr 25 1962 during the Freewheelin’ sessions, released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem The tune is the standard talkin’ blues accompaniment. I’ve noted the deviations from the pattern of the first verse in the subsequent verses. The first four lines are the same in all the verses (which means that in verse 7 there is nothing but the four lines – it goes straight into the next verse).

G /a C I saw it advertised one day, D that the Bear Mountain picnic was comin’ my way.

G C "Come along ’n’ take a trip, D /f# G We’ll bring you up there on a ship. /a/b C Bring the wife and family

/f#

Bring the whole kids."

D G Yippee!

G . C . D . . G /e-d . . . . [harp] Well, I run right down ’n’ bought a ticket To this thing called the Bear Mountain Picnic. little did I realize I was in for a pleasant funny surprise.

It had nothing to do with picnics didn’t come close to a mountain.

And I hate bears.

Took the wife ’n’ kids down to the pier, there were six thousand people there, Everybody had a ticket for the trip.

"Oh well." I said, "it’s a pretty big ship.

D Besides, anyhow, the more the merrier."

G . . /a-b C

Well, we all got on ’n’ what d’ya think, That big old boat started t’ sink More people kept a-pilin’ on, G . . /a-b C That old ship was a-goin’ down.

D Funny way t’ start a picnic.

Well, I soon lost track of m’ kids ’n’ wife, So many people I never saw in m’ life That old ship was sinkin’ down in the water, /f# G There were six thousand people tryin’ t’ kill each other,

806

talking bear mountain picnic massacre blues

C Dogs a-barkin’, cats a-screamin’, Women a-yellin’, men a-flyin’, fists a-flyin’, paper flyin’ Cops a-comin’, me a-runnin’.

D Maybe we just better call off the picnic.

I got All I Don’t all I

shoved down, remember was remember one remember was

got pushed around, a moanin’ sound, thing more, /f# G . . /a-b C wakin’ up on the shore, /b-c D M’ arms and legs were broken, m’ feet were splintered, m’ head was cracked, I couldn’t walk, couldn’t talk, smell, feel, couldn’t see, Didn’t know where I was, I was bald . . . /f# G Quite lucky to be alive though.

Well, feelin’ like I just climbed outa m’ casket, I grabbed back hold of m’ picnic basket.

Took the wife ’n’ kids ’n’ started home, Wishin’ I’d never got up that mornin’.

Now, I don’t care just what you do, If you wanta have a picnic, that’s up t’ you.

But don’t tell me about it, I don’t wanta hear it, /f# G . . /a-b You see, I just lost all m’ picnic spirit.

C /b-c Stay in m’ kitchen, D have m’ picnic in the bathroom.

Well, it don’t seem to me quite so funny What some people are gonna do f’r money.

There’s a bran’ new gimmick every day /f# G . . /a-b Just t’ take somebody’s money away.

C /b-c I think we oughta take some o’ these people d put ’em on a boat, send ’em up to Bear Mountain . . .

For a picnic.

807

The Bootleg Series 1-3

Let Me Die in My Footsteps Written by Bob Dylan Recorded Apr 25, 1962 during the Freewheelin’ session, released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Capo 1st fret (sounding key A[ major)

G I will not go down under the ground C "Cause somebody tells me that death’s comin’ ’round G An’ I will not carry myself down to die C When I go to my grave my head will be high, G C Let me die in my footsteps G D/f# C G Before I go down under the ground. : . . : . . : . . : . . |-----3---3---------------|---3---3-------3---3---| |-----0---0---------------|---0---0-------0---0---| |-----0---0---------------|---0---0-------0---0---| |-----0---0---2---0-------|-----------0-----------| |---------------------2---|-----------------------| |-3-----------------------|-3---------------------| ..ground There’s been rumors of war and wars that have been The meaning of the life has been lost in the wind And some people thinkin’ that the end is close by "Stead of learnin’ to live they are learning to die.

Let me die in my footsteps Before I go down under the ground.

I don’t know if I’m smart but I think I can see When someone is pullin’ the wool over me And if this war comes and death’s all around Let me die on this land ’fore I die underground.

Let me die in my footsteps Before I go down under the ground.

There’s always been people that have to cause fear They’ve been talking of the war now for many long years I have read all their statements and I’ve not said a word But now Lawd God, let my poor voice be heard.

Let me die in my footsteps Before I go down under the ground.

If I had rubies and riches and crowns I’d buy the whole world and change things around I’d throw all the guns and the tanks in the sea For they are mistakes of a past history.

808

let me die in my footsteps

Let me die in my footsteps Before I go down under the ground.

Let me Let me Let me Let me Let me Before

drink from the waters where the mountain streams flood smell of wildflowers flow free through my blood sleep in your meadows with the green grassy leaves walk down the highway with my brother in peace. die in my footsteps I go down under the ground.

Go out in your country where the land meets the sun See the craters and the canyons where the waterfalls run Nevada, New Mexico, Arizona, Idaho Let every state in this union seep in your souls.

And youâ&#x20AC;&#x2122;ll die in your footsteps Before you go down under the ground.

809

The Bootleg Series 1-3

Rambling Gambling Willie Written by Bob Dylan, based on the traditional tune “Brennan on The Moor” (thanks to Oliver Rea for notifying me) Recorded at the first Freewheelin’ session (April 24, 1962), and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Open D/E tuning Capo 10th or 8th fret Chords E A/e B/e

000000 020100 040300

*) In subsequent verses a A/e E is inserted here, as in the following lines.

E . . . A/e . E . |A/e . E . . A/e E . . .

E *) A/e E Come around you rovin’ gamblers and a story I will tell E A/e E A/e E About the greatest gambler, you all should know him well.

E A/e E A/e E His name was Will O’ Conley and he gambled all his life, A/e B/e A/e He had twenty-seven children, yet he never had a wife.

E A/e E And it’s ride, Willie, ride, E A/e A Roll, Willie, roll, A/e E A/e E Wherever you are a-gamblin’ now, nobody knows.

He gambled in the White House and in the railroad yards, Wherever there was people, there was Willie and his cards.

He had a reputation as the gamblin’est man around, Wives would keep their husbands home when Willie came to town.

And it’s ride, Willie, ride, Roll, Willie, roll, Wherever you are a-gamblin’ now, nobody really knows.

Sailin’ down the Mississippi to a town called New Orleans, They’re still talkin’ about their card game on that Jackson River Queen.

"I’ve come to win some money," Gamblin’ Willie says, When the game finally ended up, the whole damn boat was his.

And it’s ride, Willie, ride, Roll, Willie, roll, Wherever you are a-gamblin’ now, nobody really knows.

Up in the Rocky Mountains in a town called Cripple Creek, There was an all-night poker game, lasted about a week.

Nine hundred miners had laid their money down,

810

rambling gambling willie

When Willie finally left the room, he owned the whole damn town.

And it’s ride, Willie, ride, Roll, Willie, roll, Wherever you are a-gamblin’ now, nobody really knows.

But Willie had a heart of gold and this I know is true, He supported all his children, and all their mothers too.

He wore no rings or fancy things, like other gamblers wore, He spread his money far and wide, to help the sick and the poor.

And it’s ride, Willie, ride, Roll, Willie, roll, Wherever you are a-gamblin’ now, nobody really knows.

When you played your cards with Willie, you never really knew Whether he was bluffin’ or whether he was true.

He won a fortune from a man who folded in his chair.

The man, he left a diamond flush, Willie didn’t even have a pair.

And it’s ride, Willie, ride, Roll, Willie, roll, Wherever you are a-gamblin’ now, nobody really knows.

It was late one evenin’ during a poker game, A man lost all his money, he said Willie was to blame.

He shot poor Willie through the head, which was a tragic fate, When Willie’s cards fell on the floor, they were aces backed with eights.

And it’s ride, Willie, ride, Roll, Willie, roll, Wherever you are a-gamblin’ now, nobody really knows.

So all you rovin’ gamblers, wherever you might be, The moral of this story is very plain to see.

Make your money while you can, before you have to stop, For when you pull that dead man’s hand, your gamblin’ days are up.

And it’s ride, Willie, ride, Roll, Willie, roll, Wherever you are a-gamblin’ now, nobody really knows.

811

The Bootleg Series 1-3

Talkin’ Hava Negeilah Blues Written by Bob Dylan Recorded Apr 25, 1962 during the Freewheelin’ sessions, released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem

G [Here’s a foreign song I learned in Utah] G Ha ["dut" on the harp] C Va - Ha-va D Na - Ha-va-na G Gei - Ha-va-ne-gei C Lah - Ha-va-ne-gei-lah D O-de-ley-e-e-oo G . . C D . G C/g-G . .

812

quit your low down ways

Quit Your Low Down Ways Words and music Bob Dylan (but to some extent based on Bob Wills’ Brain Cloudy Blues) Recorded Jul 9, 1962, during the Freewheelin’ sessions, released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem This one eluded me for a while; I thought it was in open g tuning for a while (because of the G7 chord), but couldn’t then find a practical way of playing the other chords. I’m pretty confident about the 5x0003 shape, though. I haven’t heard Dylan use it elsewhere in this tuning (but he uses a similar shape in Barbara Allen, in simple Drop D tuning), but nothing happens during that chord, and that’s evidence that it is fingered in a way that prevents things from happening, such as the suggestion.

Besides, it works.

The real tricky part is the rhythm, of course, with its constant changes between triple and duple time.

I’ve noted in the verses where the riff (first bar of intro) begins, and where the beats fall in the text (usually the riff begins with an upbeat 3—–; I’ve marked that with a comma).

According to Vince Cancilla, the “You’re gonna need my help someday” part is copied exactly – text and melody – from Bob Wills’ “Brain Cloudy Blues” from the 1940’s. “The last two lines also follow the same melody. He even sings it the same way, with that high pitched – neeeed.” (V.C.) Double dropped d tuning (D-A-d-g-b-d’; tune down the first and the sixth string one whole step), capo 5th fret.

Chords: D5 D7sus4 G G7 A C9

000230 000010 xx0000 5x0003 202222 (w/thumb) 030030

Intro (1st bar=riff): : . . : . . : . |-----3---0---0-0-0-0-----|----|-----3---0---0-0-0-0-0---|-0-------0-0-0-0-|---------0---1-1-1-1-----|----|-------------1-1-1-1-0---|-3-------3-3-3-3-|-------------0-0-0-0-----| x4,|-------------0-0-0-0-0---|-2-------2-2-2-2-|-------------0-0-0-0-----|then|-------------0-0-0-0-0---|-0-------0-0-0-0-|-------------0-0-0-0-----|----|-------------------------|-0-------0-0-0-0-|(0)------------------3---|----|-0-----------------------|-0-------0-0-0-0-Well, you can D5 riff . .

Well, you can read out your Bible, . , riff . .

You can fall down on your knees, , riff . .

And pray to the Lord, pretty mama, , riff . .

D7sus4-G But it ain’t gonna do no good.

G7 *) . . . riff . .

You’re gonna need_________ . ,riff . . ,riff . .

813

The Bootleg Series 1-3

my help someday D5 A Well, if y’all can’t **) .

Please quit your

. . quit your sinnin’ . , riff x2 low down ways.

.

*) : . : . : . : . |-3---3-3-3-3-3---|-3---3-3-3-3-3---|-----3---0---0-0-|-0-0-0-0-0-0-0---|-----3-|-0---0-0-0-0-0---|-0---0-0-0-0-0---|-------------1-1-|-1-1-1-1-1-1-0---|-------|-0---0-0-0-0-0---|-0---0-0-0-0-0---|-------------0-0-|-0-0-0-0-0-0-0---|-------|-0---0-0-0-0-0---|-0---0-0-0-0-0---|-------------0-0-|-0-0-0-0-0-0-0---|-0---etc |-----------------|-----------------|-------------0-0-|-0-0-0-0-0-0-0---|-0-----|-5---------------|-5---------------|-5-----------0-0-|-0-0-0-0-0-0-0---|-0-----nee - ee heed my help some day need, you’re gonna need___________ my help some day **) : . . . . : . . |-----3---0-------0-------0-0-0-0-0-0------|-----3---0---0-0-0-0-0--|-----------------1-------1-1-1-1-1-1------|-------------1-1-1-1-0--|-----------------0-------0-0-0-0-0-0------|-------------0-0-0-0-0--|-----------------0-------0-0-0-0-0-0------|-------------0-0-0-0-0--|-------------0----------------------------|------------------------|-0-----------0-----------------------3----|-0-------------------3--please______________ quit yr lowdown ways D5 riff . .

You can run down to the desert, . riff . . you can stick your head in the sand riff . . riff . .

You can raise up your right hand, but your good man ain’t a-comin’ home, riff D7sus4 you better understand G G7 You’re gonna need riff You’re gonna need my help someday . . . riff . . D5 (someday, you’re gonna need my help, someday) A Well, if y’all can’t quit your sinnin’ riff . . . . riff x2 Please quit your low down ways.

D5 /c riff . .

Now, you can run down to the White House, . riff . .

You can gaze on the Capitol Dome, riff . . riff You can knock on the President’s gate, pretty mama, . /f /d /f /d But you know it’s gonna be too late. /f /d G7 *) You’re gonna need riff . .

You’re gonna need my help someday

814

quit your low down ways

. riff . . D5 (my help someday) A Well, if y’all can’t quit your sinnin’ riff . . . . riff Please quit your low down ways. riff . .

And you can hitchhike on the highway, . riff . . .

You can stand all alone by the side of the road. riff . . . try to flag a ride back home, pretty mama, riff . . . .

But you ain’t a-gonna ride in my car no more.

G7 You’re gonna need riff .

You’re gonna need my help someday . . (oh yes, yeah) Well, if y’all can’t quit your sinnin’ Please quit your low down ways.

So, you can read out your Hymn book, You can fall down on your knees And pray to the Lord, pretty mama, But it ain’t gonna do no good.

You’re gonna need You’re gonna need my help someday (oh, wait and see) if y’all can’t quit your sinnin’ Please quit your low down ways.

D5 C9 D5 : . . |-0---0-0---0-0---0-------|| |-3---3-3---3-3---3-------|| |-2---2-2---2-0---2-------|| |-0---0-0---0-0---0-------|| |-0---0-0---0-3---0-------|| |-0---0-0---0-0---0-------||

815

The Bootleg Series 1-3

Worried Blues Trad. (arr. Bob Dylan) Recorded Jul 9, 1962 during the Freewheelin’ sessions, and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Capo 3rd fret (sounding key Eb major) Chords C F F/a Fmaj7/a

finger a C/g: 332010 133211 (w/thumb) x03211 103210 (w/thumb)

Basic fingerpicking pattern (with changes all the time – to be taken as an indication only): |---0--------------|-----------1------|-------0-------0--|-----2-------2----|-3----------------|---------3---------

etc.

C I got those worried blues F /e-/f C/g -----> And I got those worried blues F/a F G(7) I got those worried blues C I got those worried blues, Lord F /e /f C/g I’m a-going where I never been before.

F /e /f C/g : . . . : . . |---1-------------|---0-------|-----------------|-----------|-------2---------|-------0---|-----3-----------|-----2-----etc.|-----------------|-----------|-1-------0---1---|-3-------3-Wor - ried blues

Fmaj7/a G7 C/g : . . . : . . . : . . . |-------0-------0-|-------1---------|---0------------|---1-------------|-----------------|-----------1----|-----------2-----|---0-------------|-------0--------|-----3-------3---|-----0-------0---|-----2-------2--|-0---------------|-----------------|-3--------------|---------1-------|-3-------3-------|---------3------I’m I’m I’m I’m I’m

going going going going going

where where where where where

the the the the the

chilly winds don’t blow chilly winds don’t blow chilly winds don’t blow chilly winds don’t blow crackles/climate suit my clothes.

Honey baby don’t leave me now Honey baby don’t leave me now Oh honey baby don’t leave me now

816

worried blues

Honey baby don’t leave me now I got trouble in my mind.

Listen to that cold Listen to that cold Listen to that cold Listen to that cold I’m a-going where I

whistle blow, Lord whistle blow whistle blow whistle blow never been before.

So I got those worried blues, Lord I got those worried blues I got those worried blues I got those worried blues I’m going where I never been before.

817

The Bootleg Series 1-3

Kingsport Town Trad. Arr Bob Dylan (that must be that descending bass line – that’s the arrangement) Recorded Nov 14, 1962 during the Freewheelin’ sessions, released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem

C F C/e*) C A winter wind is a-blowin’ strong, my hands have got no gloves.

F C/e G/d C G C I wish to my soul that I could see the girl I’m a-thinking of.

Don’t you remember me, babe, I remember you quite well, It caused me to leave old Kingsport Town with a high sheriff on my trail.

High sheriff on my trail, boys, high sheriff on my trail, All because I’ve fallen for a curly-headed dark-eyed girl.

Who’s a-gonna stroke your cool black hair and sandy colored skin?

Who’s a-gonna kiss your Memphis lips when I’m not in the wind?

When I’m not in the wind, babe, when I’m not in the wind, Who’s a-gonna kiss your Memphis mouth when I’m not in the wind?

Who’s a-gonna walk you side by side and tell you everything’s all right?

Who’s a-gonna sing to you all day long and not just in the night?

Who’s a-gonna walk you side by side, who’s a-gonna be you man?

Who’s a-gonna look you straight in the eye and hold your bad luck hand?

Hold your bad luck hand, babe, hold your bad luck hand, Who’s a-gonna hold your hard luck hand and who’s a-gonna be your man?

A winter wind is a-blowin’ strong, my hands ain’t got no gloves.

I wish to my soul that I could see the gal I’m thinkin’ of.

*) First verse: G

818

walkin’ down the line

Walkin’ Down the Line Words and music Bob Dylan Recorded March 1963 as a Witmark Demo, Released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Open D tuning (D-A-d-f]-a-d’), capo 5th fret (sounding key G major).

The song is perfectly playable in standard tuning as well, but it’s much easier, and sounds better, in open tuning.

Chords (sounding): Open G 000000 C/g 020100 D7sus4 x02100

Standard 320003 or 320033 3x2013 or x32033 xx0213 or xx0233

G C/g G Well, I’m walkin’ down the line, C/g G I’m walkin’ down the line C/g G An’ I’m walkin’ down the line.

C/g G My feet’ll be a-flyin’ D7sus4 C/g G To tell about my troubled mind.

C/g

G

I got a heavy-headed gal I got a heavy-headed gal I got a heavy-headed gal She ain’t feelin’ well When she’s better only time will tell Well, I’m walkin’ down the line, I’m walkin’ down the line An’ I’m walkin’ down the line.

My feet’ll be a-flyin’ To tell about my troubled mind.

My money comes and goes My money comes and goes My money comes and goes And rolls and flows and rolls and flows Through the holes in the pockets in my clothes Well, I’m walkin’ down the line, I’m walkin’ down the line An’ I’m walkin’ down the line.

My feet’ll be a-flyin’ To tell about my troubled mind.

I see the morning light I see the morning light Well it’s not because

819

The Bootleg Series 1-3

I’m an early riser I didn’t go to sleep last night Well, I’m walkin’ down the line, I’m walkin’ down the line An’ I’m walkin’ down the line.

My feet’ll be a-flyin’ To tell about my troubled mind.

I got my walkin’ shoes I got my walkin’ shoes I got my walkin’ shoes An’ I ain’t a-gonna lose I believe I got the walkin’ blues Well, I’m walkin’ down the line, I’m walkin’ down the line An’ I’m walkin’ down the line.

My feet’ll be a-flyin’ To tell about my troubled mind.

820

walls of red wing

Walls of Red Wing Words and music Bob Dylan Recorded Apr 24, 1963, at the last Freewheelin’ session, released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem

G Oh, the age of the inmates C G I remember quite freely: No younger than twelve, G /b /c D/f# No older ’n seventeen.

G Thrown in like bandits C G And cast off like criminals, C /b /a G Inside the walls, D /c /b G on the grounds of Red Wing.

From the dirty old mess hall You march to the brick wall, Too weary to talk And too tired to sing.

Oh, it’s all afternoon You remember your home town, Inside the walls, The walls of Red Wing.

Oh, the gates are cast iron And the walls are barbed wire.

Stay far from the fence With the ’lectricity sting.

And it’s keep down your head And stay in your number, Inside the walls, The walls of Red Wing.

Oh, it’s fare thee well To the deep hollow dungeon, Farewell to the boardwalk That takes you to the screen.

And farewell to the minutes They threaten you with it, Inside the walls, The walls of Red Wing.

It’s many a guard That stands around smilin’, Holdin’ his club Like he was a king.

Hopin’ to get you

821

The Bootleg Series 1-3

Behind a wood pilin’, Inside the walls, The walls of Red Wing.

The night aimed shadows Through the crossbar windows, And the wind punched hard To make the wall-siding sing.

It’s many a night I pretended to be a-sleepin’, Inside the walls, The walls of Red Wing.

As the rain rattled heavy On the bunk-house shingles, And the sounds in the night, They made my ears ring. ’Til the keys of the guards Clicked the tune of the morning, Inside the walls, The walls of Red Wing.

Oh, some of us’ll end up In St. Cloud Prison, And some of us’ll wind up To be lawyers and things, And some of us’ll stand up To meet you on your crossroads, From inside the walls, The walls of Red Wing.

822

paths of victory

Paths of Victory Words and music Bob Dylan Recorded Aug 12, 1963 during the sessions for The Times They Are A-Changin’, released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Dylan at the piano – hence black keys. Put a capo on the first fret and play as if in A (chords: A, D and E)

Bb The trail is dark and dusty Eb F The road is kind of rough, Bb But the good road is a-waiting Eb F And boys it ain’t far off.

Bb Trails of troubles, Eb F Roads of battles, Bb Paths of victory, F Bb We shall walk.

I walked down to the valley, I turned my head up high.

I seen that silver linin’ That was hangin’ in the sky.

Trails of troubles, Roads of battles, Paths of victory, We shall walk.

The evenin’ dust was rollin’, I was walking down the track.

There was a one-way wind a-blowin’ it was blowin’ at my back.

Trails of troubles, Roads of battles, Paths of victory, We shall walk.

The gravel road is bumpy, It’s a hard old road to ride, But the clearer road’s up yonder With the cinders on the side.

Trails of troubles, Roads of battles, Paths of victory,

823

The Bootleg Series 1-3

We shall walk.

Tha mornin’ train was movin’, The hummin’ of its wheels, told me of a new day comin’ across the field.

Trails of troubles, Roads of battles, Paths of victory, We shall walk.

824

talkin’ john birch paranoid blues

Talkin’ John Birch Paranoid Blues Written by Bob Dylan Released on The Bootleg Series 1-3 (1991) in a live version from Carnegie Hall, New York City, Oct 26, 1963, and in another live version on Live 1964 (2004) Tabbed by Eyolf Østrem Standard Talkin’ Blues pattern

[this is called: Talkin’ John Birch Blues.

And there ain’t nothing wrong with this song] G C Well, I was feelin’ sad and kind’a blue, D I didn’t know what I was a-gonna do, G C Them Communists wus a-comin’ around, D They wus in the air, They wus on the ground.

G . C . D . . G . . .

They wus all over.

So I run down most hurriedly And joined the John Birch Society, got me a secret membership card And went back home to the yard, Started lookin’ on the sidewalk, under the hedges.

Well, I got up in the mornin’ ’n’ looked under my bed, I wus lookin’ every place for them gol-darned Reds.

Looked behind the sink, and under the floor, Looked in the glove compartment of my car.

Couldn’t find any . . .

Looked behind the clothes, behind my chair lookin’ for them reds everywhere looked up my chimney hole, even deep down inside my toilet bowl, They got away . . .

I heard some foot-steps by the front porch door, so I grabbed my shot-gun from the floor.

Snuck around the house with a huff and a hiss, saying "Hands up, you communist!"

It was the mailman.

He punched me out.

Well, I wus sittin’ home alone an’ started to sweat, Figured they wus in my T.V. set.

I peeked behind the picture frame,

825

The Bootleg Series 1-3

Got a shock from my feet that hit my brain.

Them Reds did it!

Hootenanny Television . . .

Well, I quit my job so I could work alone, got a magnifying glass like Sherlock Holmes.

Followed some clues from my detective bag And discovered: red stripes on the American flag!

Betsy Ross . . .

Now Eisenhower, he’s a Russian spy, Lincoln, Jefferson and that Roosevelt guy.

To my knowledge there’s just one man That’s really a true American: That’s George Lincoln Rockwell.

I know for a fact he hates Commies cus he picketed the movie Exodus.

Well, I fin’ly started thinkin’ straight When I run outa things to investigate.

Couldn’t imagine nothing else, So now I’m home investigatin’ myself!

Hope I don’t find out too much . . . Good God!

Verses not sung in the released version: Now we all agree with Hitlers’ views, Although he killed six million Jews.

It don’t matter too much that he was a Fascist, At least you can’t say he was a Communist!

That’s to say like if you got a cold you take a shot of malaria.

Well, I investigated all the books in the library, Ninety percent of ’em gotta be burned away.

I investigated all the people that I knowed, Ninety-eight percent of them gotta go.

The other two percent are fellow Birchers . . . just like me.

Live 1964 (The Philharmonic Hall) ["This is called, ’Talkin’ John Birch ... PARANOID ... Blues’ It’s a fictitious story..."]

Well, I was feelin’ sad and kind of blue, I didn’t know what I was gonna do, The Communists were comin’ around, They were in the air, They were on the ground.

They were all over.

So I ran down most hurriedly And joined the John Birch Society, I got me a secret membership card

826

talkin’ john birch paranoid blues

went back to my back yard, Started lookin’ on the sidewalk, ’neath the rose bush.

I wus lookin’ everywhere for them gol-darned Reds, I got up in the mornin’ looked under my bed, Looked behind the kitchen, behind the door, even tore loose the kitchen floor, Couldn’t find any . . .

I looked beneath the sofa, beneath the chair lookin’ for them reds everywhere I looked way up my chimney hole, even deep down inside my toilet bowl, They got away . . .

I heard some foot-steps by the front porch door, so I grabbed my shot-gun from the floor.

Snuck around the house with a huff and a hiss, saying "Hands up, you communist!"

It was the mailman.

He punched me out.

Well, I quit my job so I could work alone, got a magnifying glass like Sherlock Holmes.

Following some clues from my detective bag I discovered there was red stripes on the American flag!

Did you know about Betsy Ross . . .?

Well, I was sittin’ home alone an’ I started to sweat, I figured they wus in my television set.

I peeked behind the picture frame, Got a shock from my feet that hit my brain.

Them Reds did it!

The ones on Hootenanny!

Well, I fin’ly started thinkin’ straight When I run outa things to investigate.

I couldn’t imagine doing anyhing else, So now I’m home investigatin’ myself!

Hope I don’t find out too much . . . Good God!

827

The Bootleg Series 1-3

Who Killed Davey Moore?

Words and music Bob Dylan Released on The Bootleg Series 1-3 (1991) in a live recording from carnegie Hall, NY, Oct 26, 1963, and in a version from Philharmonic Hall (Oct 31, 1964) on Live 1964 (2004) Tabbed by Eyolf Østrem Capo 3rd fret In the Carnegie version, the descending figure in the verses is played rather freely, with ample variation. In the version from the Halloween show (Oct 31, 1964), both the rhythm and the chords are more regular: Also, in some verses, at least, it seems that he plays the last line of each verse (“No you can’t blame me at all”) the same way as the last line in the chorus (F G-G6-G7-C) Verse pattern: Chorus, last line: F C/e G/d C F G G6 G7 C |-------------------||--1---------------| |---1---1---0---1---||--1---------------| |---2---0---0---0---||--2---0-0-0---0---| |-3---2---0---------||--3---0-2-3---2---| |-------------3-----||--3---2-------3---| |-------------------||--1---3-3-3-------|

Spoken intro at the Halloween show (1964): "This is a song about a boxer... a boxer, It’s got nothing to do with boxing, it’s just a song about a boxer.

And, uh... It’s, uh...

It’s not even having to do with a boxer, really it’s got nothing to do with nothing [giggle] But I fit all these words together, that’s all This is taken out of the newspapers.

Nothing has been changed, except the words."

C F G C Who killed Davey Moore, F G G6 G7 C Why an’ what’s the reason for?

F C/e G/d C "Not I," says the referee, "Don’t point your finger at me.

I could’ve stopped it in the eighth An’ maybe kept him from his fate, But the crowd would’ve booed, I’m sure, At not gettin’ their money’s worth.

It’s too bad he had to go, But there was a pressure on me too, you know.

It wasn’t me that made him fall.

No, you can’t blame me at all."

Who killed Davey Moore, Why an’ what’s the reason for?

828

who killed davey moore?

"Not us," says the angry crowd, Whose screams filled the arena loud.

"It’s too bad he died that night But we just like to see a fight.

We didn’t mean for him t’ meet his death, We just meant to see some sweat, There ain’t nothing wrong in that.

It wasn’t us that made him fall.

No, you can’t blame us at all."

Who killed Davey Moore, Why an’ what’s the reason for?

"Not me," says his manager, Puffing on a big cigar.

"It’s hard to say, it’s hard to tell, I always thought that he was well.

It’s too bad for his wife an’ kids he’s dead, But if he was sick, he should’ve said.

It wasn’t me that made him fall.

No, you can’t blame me at all."

Who killed Davey Moore, Why an’ what’s the reason for?

"Not me," says the gambling man, With his ticket stub still in his hand.

"It wasn’t me that knocked him down, My hands never touched him none.

I didn’t commit no ugly sin, Anyway, I put money on him to win.

It wasn’t me that made him fall.

No, you can’t blame me at all."

Who killed Davey Moore, Why an’ what’s the reason for?

"Not me," says the boxing writer, Pounding print on his old typewriter, Sayin’, "Boxing ain’t to blame, There’s just as much danger in a football game."

Sayin’, "Fist fighting is here to stay, It’s just the old American way.

It wasn’t me that made him fall.

No, you can’t blame me at all."

Who killed Davey Moore, Why an’ what’s the reason for?

"Not me," says the man whose fists Laid him low in a cloud of mist, Who came here from Cuba’s door Where boxing ain’t allowed no more.

"I hit him, yes, it’s true, But that’s what I am paid to do.

Don’t say ’murder,’ don’t say ’kill.’

829

The Bootleg Series 1-3

It was destiny, it was God’s will."

Who killed Davey Moore, Why an’ what’s the reason for?

830

only a hobo

Only a Hobo Words and music Bob Dylan Recorded Aug 12 1963 (The Times They Are A-changin’ sessions) and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem

C’

x30030

G C G As I was out walking on a corner one day, D I spied an old hobo, in a doorway he lay.

G C G His face was all grounded in the cold sidewalk floor D G And I guess he’d been there for the whole night or more.

C G Only a hobo, but one more is gone D C’ G/b Leavin’ nobody to sing his sad song G C G Leavin’ nobody to carry him home D C’ G He was only a hobo, but one more is gone A blanket of newspaper covered his head, As the curb was his pillow, the street was his bed.

One look at his face showed the hard road he’d come And a fistful of coins showed the money he bummed.

Only a hobo, but one more is gone Leavin’ nobody to sing his sad song Leavin’ nobody to carry him home Only a hobo, but one more is gone Does it take much of a man to see his whole life go down, To look up on the world from a hole in the ground, To wait for your future like a horse that’s gone lame, To lie in the gutter and die with no name?

Only a hobo, but one more is gone Leavin’ nobody to sing his sad song Leavin’ nobody to carry him home Only a hobo, but one more is gone

831

The Bootleg Series 1-3

Moonshiner Trad (aka The Bottle song, Moonshine blues or Kentucky Moonshiner), arr. Bob Dylan Recorded August 12 1963 (The Times They Are A-changin’ sessions), and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Capo 4th fret (sounding key C] minor) Standard fingerpicking.

C/g (332010) is played in the turns around F. In the longer stretches (such as from “moonshiner’‘ to “years’’ in the first line), it changes to a plain C chord, i.e. the bass goes from only picking the low G, to alternating between C and G on the 5th and 6th strings.

Intro: Am . . . . . . C/g . . . . .

F . . . C/g . . . . . . . . . . .

Am C/g F C/g G7 I’ve been a-a moonshiner for seventeen long years Am C/g F C/g G7 I’ve spent all my-y money on whiskey an’ beer F G C/g F I go to some hollow and set up my still Am C/g F C/g G7 And if whiskey don’t kill me then I don’t know what will.

I’d go to some bar room and drink with my friends Where the women can’t follow an’ see what I’ve spent God bless them pretty women, I wish they was mine Their breath is as sweet as the dew on the vine.

Let me eat when I’m hungry, let me drink when I’m dry Hmm, dollars when I’m hard up, religion when I die The whole world’s a bottle an’ life’s but a dram When a bottle gets empty, it sure ain’t worth a damn.

832

last thoughts on woody guthrie

Last Thoughts on Woody Guthrie Written by Bob Dylan Spoken live , and released on The Bootleg Series 1-3 (1991) When yer head gets twisted and yer mind grows numb When you think you’re too old, too young, too smart or too dumb When yer laggin’ behind an’ losin’ yer pace In a slow-motion crawl of life’s busy race No matter what yer doing if you start givin’ up If the wine don’t come to the top of yer cup If the wind’s got you sideways with with one hand holdin’ on And the other starts slipping and the feeling is gone And yer train engine fire needs a new spark to catch it And the wood’s easy findin’ but yer lazy to fetch it And yer sidewalk starts curlin’ and the street gets too long And you start walkin’ backwards though you know its wrong And lonesome comes up as down goes the day And tomorrow’s mornin’ seems so far away And you feel the reins from yer pony are slippin’ And yer rope is a-slidin’ ’cause yer hands are a-drippin’ And yer sun-decked desert and evergreen valleys Turn to broken down slums and trash-can alleys And yer sky cries water and yer drain pipe’s a-pourin’ And the lightnin’s a-flashing and the thunder’s a-crashin’ And the windows are rattlin’ and breakin’ and the roof tops a-shakin’ And yer whole world’s a-slammin’ and bangin’ And yer minutes of sun turn to hours of storm And to yourself you sometimes say "I never knew it was gonna be this way Why didn’t they tell me the day I was born" And you start gettin’ chills and yer jumping from sweat And you’re lookin’ for somethin’ you ain’t quite found yet And yer knee-deep in the dark water with yer hands in the air And the whole world’s a-watchin’ with a window peek stare And yer good gal leaves and she’s long gone a-flying And yer heart feels sick like fish when they’re fryin’ And yer jackhammer falls from yer hand to yer feet And you need it badly but it lays on the street And yer bell’s bangin’ loudly but you can’t hear its beat And you think yer ears might a been hurt Or yer eyes’ve turned filthy from the sight-blindin’ dirt And you figured you failed in yesterdays rush When you were faked out an’ fooled white facing a four flush And all the time you were holdin’ three queens And it’s makin you mad, it’s makin’ you mean Like in the middle of Life magazine Bouncin’ around a pinball machine And there’s something on yer mind you wanna be saying That somebody someplace oughta be hearin’ But it’s trapped on yer tongue and sealed in yer head And it bothers you badly when your layin’ in bed And no matter how you try you just can’t say it And yer scared to yer soul you just might forget it And yer eyes get swimmy from the tears in yer head And yer pillows of feathers turn to blankets of lead

833

The Bootleg Series 1-3

And the lion’s mouth opens and yer staring at his teeth And his jaws start closin with you underneath And yer flat on your belly with yer hands tied behind And you wish you’d never taken that last detour sign And you say to yourself just what am I doin’ On this road I’m walkin’, on this trail I’m turnin’ On this curve I’m hanging On this pathway I’m strolling, in the space I’m taking In this air I’m inhaling Am I mixed up too much, am I mixed up too hard Why am I walking, where am I running What am I saying, what am I knowing On this guitar I’m playing, on this banjo I’m frailin’ On this mandolin I’m strummin’, in the song I’m singin’ In the tune I’m hummin’, in the words I’m writin’ In the words that I’m thinkin’ In this ocean of hours I’m all the time drinkin’ Who am I helping, what am I breaking What am I giving, what am I taking But you try with your whole soul best Never to think these thoughts and never to let Them kind of thoughts gain ground Or make yer heart pound But then again you know why they’re around Just waiting for a chance to slip and drop down "Cause sometimes you hear’em when the night times comes creeping And you fear that they might catch you a-sleeping And you jump from yer bed, from yer last chapter of dreamin’ And you can’t remember for the best of yer thinking If that was you in the dream that was screaming And you know that it’s something special you’re needin’ And you know that there’s no drug that’ll do for the healin’ And no liquor in the land to stop yer brain from bleeding And you need something special Yeah, you need something special all right You need a fast flyin’ train on a tornado track To shoot you someplace and shoot you back You need a cyclone wind on a stream engine howler That’s been banging and booming and blowing forever That knows yer troubles a hundred times over You need a Greyhound bus that don’t bar no race That won’t laugh at yer looks Your voice or your face And by any number of bets in the book Will be rollin’ long after the bubblegum craze You need something to open up a new door To show you something you seen before But overlooked a hundred times or more You need something to open your eyes You need something to make it known That it’s you and no one else that owns That spot that yer standing, that space that you’re sitting That the world ain’t got you beat That it ain’t got you licked It can’t get you crazy no matter how many Times you might get kicked You need something special all right

834

last thoughts on woody guthrie

You need something special to give you hope But hope’s just a word That maybe you said or maybe you heard On some windy corner ’round a wide-angled curve But that’s what you need man, and you need it bad And yer trouble is you know it too good "Cause you look an’ you start getting the chills "Cause you can’t find it on a dollar bill And it ain’t on Macy’s window sill And it ain’t on no rich kid’s road map And it ain’t in no fat kid’s fraternity house And it ain’t made in no Hollywood wheat germ And it ain’t on that dimlit stage With that half-wit comedian on it Ranting and raving and taking yer money And you thinks it’s funny No you can’t find it in no night club or no yacht club And it ain’t in the seats of a supper club And sure as hell you’re bound to tell That no matter how hard you rub You just ain’t a-gonna find it on yer ticket stub No, and it ain’t in the rumors people’re tellin’ you And it ain’t in the pimple-lotion people are sellin’ you And it ain’t in no cardboard-box house Or down any movie star’s blouse And you can’t find it on the golf course And Uncle Remus can’t tell you and neither can Santa Claus And it ain’t in the cream puff hair-do or cotton candy clothes And it ain’t in the dime store dummies or bubblegum goons And it ain’t in the marshmallow noises of the chocolate cake voices That come knockin’ and tappin’ in Christmas wrappin’ Sayin’ ain’t I pretty and ain’t I cute and look at my skin Look at my skin shine, look at my skin glow Look at my skin laugh, look at my skin cry When you can’t even sense if they got any insides These people so pretty in their ribbons and bows No you’ll not now or no other day Find it on the doorsteps made out-a paper mache And inside it the people made of molasses That every other day buy a new pair of sunglasses And it ain’t in the fifty-star generals and flipped-out phonies Who’d turn yuh in for a tenth of a penny Who breathe and burp and bend and crack And before you can count from one to ten Do it all over again but this time behind yer back My friend The ones that wheel and deal and whirl and twirl And play games with each other in their sand-box world And you can’t find it either in the no-talent fools That run around gallant And make all rules for the ones that got talent And it ain’t in the ones that ain’t got any talent but think they do And think they’re foolin’ you The ones who jump on the wagon Just for a while ’cause they know it’s in style

835

The Bootleg Series 1-3

To get their kicks, get out of it quick And make all kinds of money and chicks And you yell to yourself and you throw down yer hat Sayin’, "Christ do I gotta be like that Ain’t there no one here that knows where I’m at Ain’t there no one here that knows how I feel Good God Almighty THAT STUFF AIN’T REAL" No but that ain’t yer game, it ain’t even yer race You can’t hear yer name, you can’t see yer face You gotta look some other place And where do you look for this hope that yer seekin’ Where do you look for this lamp that’s a-burnin’ Where do you look for this oil well gushin’ Where do you look for this candle that’s glowin’ Where do you look for this hope that you know is there And out there somewhere And your feet can only walk down two kinds of roads Your eyes can only look through two kinds of windows Your nose can only smell two kinds of hallways You can touch and twist And turn two kinds of doorknobs You can either go to the church of your choice Or you can go to Brooklyn State Hospital You’ll find God in the church of your choice You’ll find Woody Guthrie in Brooklyn State Hospital And though it’s only my opinion I may be right or wrong You’ll find them both In the Grand Canyon At sundown

836

seven curses

Seven Curses Written by Bob Dylan Released on The Bootleg Series 1-3 (1991) in a version from Carnegie Hall, NYC, Oct 26, 1963 Tabbed by Eyolf Ă&#x2DC;strem Dropped D tuning (D-A-d-g-b-eâ&#x20AC;&#x2122;) Capo 2nd fret (sounding key E major) The following figure recurs at the end of virtually every phrase, in this form, or shortened or prolonged: D-riff: : . . . : . . . : . . . : . . . |---------------0-|h2-----3p2-----0-|h2------------(2)|-----------------| |-----------------|-----------------|-----------------|-----------------| |-----------------|---2-------2-----|----------(2)----|-----------------| |-----0-------0---|-----0-------0---|-----0-------0---|-----0-------0---| |-----------------|-----------------|-----------------|-----------------| |-0-------0-------|-0-------0-------|-0-------0-------|-0-------0-------|

D /g /f# D : . . . : . . . : : : : |-----------------|-----------------|--------|--------|--------|--------| |-----------------|-----------------|--------|--------|--------|--------| |-----------------|-----------------|--- D-riff -----|--------|--------| |-----0-------0---|-----0-------0---|--------|--------|--------|--------| |-----------------|-----------------|--------|--------|--------|--------| |-0-------0-------|-5-------4-------|--------|--------|--------|--------| Old Reilley stole a stallion but they D /g /f# D : . . . : . . . : . . . : . . . : . . . |-----------------|-----------------|---------------0-|h2-------------2-|-------------| |-----------------|-----------------|-----------------|-----------------|-------------| |-----------------|-----------------|-----------------|-----------2-----|-------------| |-----0-------0---|-----0-------0---|-----0-------0---|-----0-------0---|----0-----0--| |-----------------|-----------------|-----------------|-----------------|-------------| |-0-------0-------|-5-------4-------|-0-------0-------|-0-------0-------|-0-----0-----| caught him and they brought him back and they G /f# Em7 D/f# D : . . . : . . . : . . . : . . . |-----------------|-----------------|---------------0-|h2---------------| |-----------------|-----------------|-----3-----------|-----------------| |-----------------|-----------------|-----------2-----|-----------------| |-----0-------0---|-----0-------0---|-----0-------0---|-----0-------0---| |-----------------|-----------------|-----------------|-----------------| |-5-------4-------|-2-------4-------|-0-------0-------|-0-------0-------| laid him down on the jail - house ground with an

837

The Bootleg Series 1-3

A/e D : . . . : . . . : . : . : . : . |-----------------|-----------------|---------|---------|---------|--------| |-----2-------2---|-----2-------2---|---------|---------|---------|--------| |-----------------|-----------------|--d-riff ----|---------|--------| |-----2-------2---|-----2-------2---|---------|---------|---------|--------| |-----------------|-----------------|---------|---------|---------|--------| |-2-------2-------|-2-------2-------|---------|---------|---------|--------| iron chain around his neck Old Reilly’s daughter got a message That her father was goin’ to hang.

She rode by night and came by morning With gold and silver in her hand When the judge he saw Reilly’s daughter His old eyes deepened in his head, Sayin’, "Gold will never free your father, The price, my dear, is you instead."

"Oh I’m as good as dead," cried Reilly, "It’s only you that he does crave And my skin will surely crawl if he touches you at all.

Get on your horse and ride away."

"Oh father you will surely die If I don’t take the chance to try And pay the price and not take your advice.

For that reason I will have to stay."

The gallows shadows shook the evening, In the night a hound dog bayed, In the night the grounds were groanin’, In the night the price was paid.

The next mornin’ she had awoken To know that the judge had never spoken.

She saw that hangin’ branch a-bendin’, She saw her father’s body broken. : . . . : . . . |-----------------|-----------------|------------------------|-----------------|-----------------|------------------------|-----------------|-----------------|---- d-riff --------|-----0-------0---|-----0-------0---|------------------------|-----------------|-----------------|------------------------|-0-------5-------|-4-------2-------|-0----------------------These be se-ven cur-ses on a judge so cruel: that one doctor will not save him That two healers will not heal him, That three eyes will not see him.

That four ears will not hear him, That five walls will not hide him, That six diggers will not bury him And that seven deaths shall never kill him.

838

eternal circle

Eternal Circle Words and music Bob Dylan Recorded Oct 24, 1963 (The Times They Are A-changin’ sessions) and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Capo 3rd fret (sounding key C major) E6

022120

The A-Asus4-A-Asus2-A turn of the interlude is used here and there where there is a long A.

A A I sang the song slowly E6 A As she stood in the shadows D/f# She stepped to the light E6 A As my silver strings spun A E She called with her eyes D A To the tune I’s a-playin’ A Asus4 But the song it was long E6 And I’d only begun A Asus4 A Asus2 A : . . : . . : . . : . . |-----0---0---0---0---0---|-----0---0-------0---0--|-----2---2---3---2---0---|-----2---2-------2---2--|-----2---2---2---2---2---|-----2---2-------2---2--|-----2---2---2---2---2---|------------------------|-0-----------------------|-0----------------------|-------------------------|-------------0----------Through a bullet of light Her face was reflectin’ The fast fading words That rolled from my tongue With a long-distance look Her eyes was on fire But the song it was long And there was more to be sung.

My eyes danced a circle Across her clear outline With her head tilted sideways She called me again As the tune drifted out

839

The Bootleg Series 1-3

She breathed hard through the echo But the song it was long And it was far to the end I glanced at my guitar And played it pretendin’ That of all the eyes out there I could see none As her thoughts pounded hard Like the pierce of an arrow But the song it was long And it had to get done As the tune finally folded I laid down the guitar Then looked for the girl Who’d stayed for so long But her shadow was missin’ For all of my searchin’ So I picked up my guitar And began the next song

840

suze (the cough song)

Suze (The Cough Song) One of Dylan’s attempts at an instrumental.

Recorded Oct 24, 1963 and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem I’ve only tabbed out the first part – that’s where the tricky bits are, and if you get that, you’ll be able to play the rest too. The measurement is kept the same in the two parts, only written more condensedly.

In the G-G6-G7-measures in the beginning of the second part, because of the fingerpicking pattern the new bass notes (/e and /f) will not enter before on the last beat of their respective bars, but I’ve written it out in the beginning of the bars, since that’s where the new chord implicitly begins.

Capo 4th fret C *) F : . . . : . . . : . . . : . . . |---------------0-||------------------|-0---------------|-----------------| |-1---------------||*-----1-----------|-------1---------|-------1---------| |-----------0-----||-----------0------|-----------0-----|---0h2-----0h2---| |-----2-------2---||------2-------2---|-----2-------2---|-----3-------3---| |-3---------------||*-3---------------|-3---------------|-----------------| |---------3-------||----------3-------|---------3-------|-1-------1-------| C D7/f# : . . . : . . . : . . . : . . . |---------------0-|---------------0-|-----------------|-----------------| |-----1-----------|-----1-----------|-----1-----------|-------1---------| |-----------0-----|-----------0-----|-----------------|---2-------2-----| |-----2-------2---|-----2-------2---|-----2-------2---|-----0-------0---| |-3---------------|-3---------------|-3---------------|-----------------| |---------3-------|---------3-------|---------3-------|-2-------2-------| G C F : . . . : . . . : . . . : . . . |---------------0-|---------------0-|-----------------|-----------------| |-----0-----------|-----1-----------|-----1-----------|-------1---------| |-----------0-----|-----------0-----|-----------0-----|---0h2-----2-----| |-----0-------0---|-----2-------2---|-----2-------2---|-----3-------3---| |-----------------|-3---------------|-3---------------|-----------------| |-3-------3-------|---------3-------|---------3-------|-1-------1-------| D7/f# C/g G Am /g F G : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|---------------0--|| |-----1---------1-|-------0-------0-|h1-------------1-|-------1p0-------*|| |-----------0-----|---0-------0-----|---2---2---2-----|---2-------0------|| |-----0-------0---|-----2-------0---|-----2-------2---|-----3-------0----|| |-----------------|-----------------|-0---------------|-----------------*|| |-2-------2-------|-3-------3-------|---------3-------|-1-------3--------||

841

The Bootleg Series 1-3

C : . . . |-----------------| |-----1-----------| |-----------0-----| |-----2-------2---| |-3---------------| |---------3-------| G G/e G7/f | . . . : . . . | . . . : . . .

[2nd time: "cough-cough-cough"] C | . . . : . . . | . . . : . . .

G G/e G7/f | . . . : . . . | . . . : . . .

C | . . . : . . . | . . . : . . .

A | . . . : . . . | . . . : . . .

D/f# | . . . : . . . | . . . : . . .

F | . . . : . . . | . . . : . . .

G G7 | . . . : . . . | . . . : . . .

G7 | . . . : . . . | . . . : . . .

Repeat from *)

842

mama, you been on my mind

Mama, You Been on My Mind Words and music Bob Dylan Recorded june 1964 and released on The Bootleg Series 1-3 (1991), and in a live version on Live 1975 (2002) Tabbed by Eyolf Østrem

Bootleg Series version Capo 4th fret (sounding key E major) Chords: D7/f# C/g C/b G6 G7

200212 332010 x20010 322003 323003

(or 200210, which would be called D9/f#) (not really C/b, but that’s what he plays) (drop the 1st string and play 32000x-32200x-32300x, that’s the only way to get this one smooth)

Intro: G |-----------|-----------|-------0---|-0-0-0-0---- etc |-2-0-2-2---|-3-----3---C E Perhaps it’s the color of the sun cut flat Am D7/f# An’ cov’rin’ the crossroads I’m standing at, C /b Am G C/g Or maybe it’s the weather or something like that, G G6 G7 C G But mama, you been on my mind.

C E I don’t mean trouble, please don’t put me down or get upset, Am D7/f# I am not pleadin’ or sayin’, "I can’t forget you."

C E Am Am/g F I do not pace the floor bowed down an’ bent, but yet, C/g G G6 G7 C Mama, you been on my mind.

C Even though my mind is hazy an’ my thoughts they might be narrow, E Am D7/f# Where you been don’t bother me nor bring me down with sorrow.

C G Am /g F I don’t even mind who you’ll be wakin’ with tomorrow,

843

The Bootleg Series 1-3

C/g G G6 G7 C But mama, you’re just on my mind.

C I am not askin’ you to say words like "yes" or "no," E Am D7/f# Please understand me, I have no place I’m callin’ you t’ go.

C G Am /g F I’m just whisperin’ to myself, so I can pretend that I don’t know, C/g G G6 G7 C G Mama, you are on my mind.

[Harmonica verse] C When you wake up in the mornin’, baby, look inside your mirror.

E Am D7/f# You know I won’t be next to you, you know I won’t be near.

C E Am /g F I’d just be curious to know if you can see yourself as clear C/g G G6 G7 C As someone who has had you on his mind

Halloween Show (Philharmonic Hall, NYC, Oct 31, 1964, w/Joan Baez) Capo 4th fret This time Dylan played with Joan Baez, and so the chords were the same in all verses. . .

C Perhaps it’s the color of the sun cut flat E Am D7/f# An’ cov’rin’ the crossroads I’m standing at, C /b Am /g F (C/e F) C/g Or maybe it’s the weather or something like that, G G6 G7 C Csus4 C But mama, you’re just on my mind. [daddy, you been] G . G6 . G7 . . .

I . . . don’t mean trouble, please don’t put me down or get upset, I am not pleadin’ or sayin’, "I can’t forget you."

I do not walk the floor bowed down an’ bent, but yet, Mama [/daddy], you’re just on my mind.

Even though my mind is hazy an’ my thoughts they might be narrow, Where you been don’t bother me nor bring me down with sorrow.

It don’t even matter where you’re waking up tomorrow, But mama [/daddy], you’re just on my mind. [long halt on the G7, before:] I . . . - don’t mean trouble please don’t put me down and.... a-a-ah [a-a-ah-aaaah]

844

mama, you been on my mind

[Joanie, who remembers the lyrics, takes charge:] I am not askin’ you to say words like "yes" or "no," Please understand me, I’m not calling for you to go I’m just breathing to myself, pretending not that I don’t know, that Mama [/daddy] you been on my mind.

[Long halt on the G7 again, but this time Dylan takes his time to ask Joan how the next verse begins:] When you wake up in the mornin’, baby, look inside your mirror.

You know I won’t be next to you, you know I won’t be near.

I’d just be curious to know if you can see yourself as clear As someone who has had you on his mind.

Live 1975 (Rolling Thunder) Version (w/Joan Baez) The first verse is repeated at the end.

G G D Em Maybe it’s the color of the sun cut flat Am *) An’ cov’rin’ the crossroads I’m standing at, G D Em C Or maybe it’s the weather or something like that, G D G But mama, you’re just on my mind.

I don’t mean trouble, please don’t put me down or get upset, I am not pleadin’ or sayin’, "I can’t forget you."

I do not walk the floor bowed down an’ bent, but yet, Mama, you’re just on my mind.

Even though my mind is hazy an’ my thoughts they might be narrow, Where you been don’t bother me or bring me down in sorrow.

It don’t even matter where you’re wakin’ up tomorrow, Mama, you’re just on my mind.

When you wake up in the mornin’, baby, look inside your mirror.

You know I won’t be next to you, you know I won’t be near/there.

I’d just be curious to know if you can see yourself as clear As someone who has had you on his mind Maybe it’s the color of the sun cut flat An’ cov’rin’ the crossroads I’m standing at, Or maybe it’s the weather or something like that, But mama, you’re just on my mind.

Mama, you’re just on my mind

*) In some verses a C is inserted before the Am.

845

The Bootleg Series 1-3

Never ending Tour version (Roseland, 1994) Note how the E chord, which was so prominent in the earlier versions, has disappeared completely, and the sharp D7/f] has been replaced by the more lax F in the second line. In more recent concert renditions, the E and D/f] are back.

C Maybe it’s the color of the sun cut flat /b Am F An’ cov’rin’ the crossroads I’m standing at, C G Am /g F Or maybe it’s the weather or something like that, C G C But mama, you’re just on my mind.

Current live version (Oslo, Apr 7, 2002) Capo 2nd fret (sounding key A major) G : . . . : . . . : . . . : . . .

-----------------|-----------------|------------------|------------------| -----------------|-----3-------3---|------3---3---3---|--3-------3-------| -----------0-2-3-|-4---4-------4---|4h5---4---2h4-4---|0h2-------0-------| -----0-2-4-------|-----------------|------------------|------------------| -----------------|-----------------|------------------|------------------| -----------------|-----------------|------------------|------------------| B Em *) A/c# : . . . : . . . : . . . : . . . |-----------------|------0-----------|-----------------|------------------| |-4---------------|------0---0-------|---0-------------|-----2-------2----| |-4---------------|------0---0-------|-----------------|-----2-------2----| |-4---------------|0h2-----------2-4-|-5---4---2---0---|-----2-------2----| |-----------------|------------------|-----------------|-4----------------| |-----------------|------------------|-----------------|------------------| G D/f# Em : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------| |-----2-----2-----|-----3-----3---3-|-----3-----3---3-|-----0-----------| |-----2-----2-2---|---4-----4-------|---2-----2-------|---0-------------| |-----2-------2---|-5-----5-----5---|-4-----4-----4---|-2-------4---0---| |-4---------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| C G D G5 : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----3-----3-3-3-| |-----1-1-----1---|-0---------------|-----3-----------|-----3-----3-3-3-| |-----0-0-----0---|-0---------------|-----2-----------|-----0-----0-0-0-| |-----2-2-0h2-----|-0-----------0-0-|-0---------------|-----------------| |-3---------------|-----3p2---------|---------3---1---|-----------------| |-----------------|-----------------|-----------------|-3-------3-------|

846

mama, you been on my mind

D **) G/b D7(iii) : . . . : . . . : . . . : . . . |-----3-----------|-----2-----------|-----3-------3-3-|---5-----5-----5-| |-----3-----------|-----3-------3-3-|---3-----3---3-3-|---3-----3-----3-| |-----0-----------|-----2-------2-2-|/4-------4---4-4-|-5-----5-----5---| |-----------------|-0-------0-------|-----------------|-----------------| |-----------2-3-4-|-----------------|-----------------|-----------------| |-3-------3-------|-----------------|-----------------|-----------------| G : . . . : . . . |-----5-----------|-----------------|-----3-----------|-----------------|---5-------------|-----------------|-----------------|-----------------|-----------------|-----------------|-----------0-0-2-|-3----------------

etc.

*) or glide up to Em=xx5450 **) or use the rhythmic figure in m. 10-11 above (at G-D/f#)

G B7 Maybe it’s the color of the sun cut flat Em A/c# / An’ cov’rin’ the crossroads I’m standing at, G D Em C Or maybe it’s the weather or something like that, G D G D G/d But mama, you’re just on my mind.

D7(iii)

Milwaukee, 28 Oct, 2001 Capo 4th fret (sounding key E major) C : . . . : . . . : . . . : . . .

-----------------|-----0-----0-0-0-|---------------0-0-|-----0-0---------| -----------------|-----1-----1-1-1-|-1-------------1-1-|-----1-1-----1-1-| -----------------|-----0-----0-0-0-|-0h2p0---------0-0-|-----0-0-----0-0-| -------------0-1-|-2---------------|-------2-----0-----|-0h2-----0-------| -------0-2-3-----|-----------------|-----------3-------|-----------3-----| ---2h3-----------|-----------------|-------------------|-----------------| E Am D9/f# : . . . : . . . : . . . : . . . |-----0-0---------|-----0-----------|-----------------|-----0-----------| |-----0-0---------|-----1-----0-----|-1-----1---------|-----1-----0-----| |-----1-1---------|-----2-------2-2-|-2-----2---------|-----2-----2-----| |-0h2-----2-0-----|-------------2-2-|-2-------2-2-----|-----------------| |-------------3-2-|-0---------------|-0-------0-0-----|-----------------| |-----------------|-----------------|-------------3-3-|-2-----------2---|

847

The Bootleg Series 1-3

C/g G7 Am : . . . : . . . : . . . : . . . |-----------------|-----0-0---------|-----------------|-----------------| |-1-----1---------|-----1-1---3-1---|-3---3-----------|-1---------------| |-2-----2---------|-----0-0---------|-0---0-----------|-2---------------| |-----------------|-----------------|-3---3-2---0-2-0-|-0h2-------------| |-----------------|-----------------|-----------------|-0-----2-3-2-0---| |-----2-------0-2-|-3---------------|-3---3-----------|---------------3-| F(maj7) C G C : . . . : . . . : . . . : . . . |-----------------|-----------------|-3---3-3---------|-0---0-0---------| |-----1-----------|-1---1-1-----1---|-0---0-0---------|-1---1-1---------| |-----2---0-------|-0---0-0-----0---|-0---0-0---------|-0---0-0---------| |-2---2-------2---|-0h2-------------|-0---0-0---------|-2---2-2---------| |-0---------------|-3---------------|-2---------3-3---|-3-----------0-2-| |-1---------------|-----------------|-3---------------|-----------3-----| C G C/g G : . . . : . . . : . . . : . . . |-----0-------0-0-|-----------------|-----------------|-----------------| |-----1-------1-1-|---------0-----1-|---------1-----0-|-----3-----3-----| |-----0-------0-0-|-----0-----0-----|-----0-----0-----|---0-----0-----0-| |-------------2-2-|---0---0-----0---|---2---2-----2---|-0-----0-----0---| |-3-------3-------|-----------------|-----------------|-----------------| |-----------------|-3---------------|-3---------------|-----------------| C : . . . : . . . |-----------------|--------------|-3-----------0---|-1------------|-------------0---|-0------------- etc. |-------------0---|-2------------|-------------2---|-3------------|-------------3---|---------------

848

farewell angelina

Farewell Angelina Words and music Bob Dylan Recorded jan 13 1965 and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem The melody is clearly based upon his earlier unfinished I Rode Out One Morning.

Dropped C tuning (C-A-d-g-b-e’) Capo 7th fret (sounding key G major) C 032010 Csus4 033010 Fmaj7 003210 F 003211 Em/b (0)22000

C C Fmaj7 C Farewell Angeli - na Fmaj7 C The bells of the crown C Fmaj7 C Are being stolen by ban - dits Fmaj7 C I must follow the sound C The triangle tingles Fmaj7 C the music play slow C Am But farewell Angelina C Em/b The night is on fire F C Csus4 C And I must go.

C There is no use in talkin’ Fmaj7 C Fmaj7 C and there’s no need for blame There is nothing to prove, Fmaj7 C Fmaj7 C Ev’rything still is the same C A table stands empty Fmaj7 C Csus4 C By the edge of the stream C Em/b But farewell Angelina C Am The sky’s changing colours Fmaj7 C Csus4 C

849

The Bootleg Series 1-3

And I must leave.

C The jacks and the queens Fmaj7 C Fmaj7 C they forsake the courtyard C Fifty-two gypsies Fmaj7 C Fmaj7 C Now file past the guards C In the space where the deuce Fmaj7 C Fmaj7 C And the ace once ran wild C Em/b Farewell Angelina C Am The sky is folding Fmaj7 C Csus4 C Iâ&#x20AC;&#x2122;ll see you after a while.

C See the cross-eyed pirates sit Fmaj7 C Csus4 C Perched in the sun C Fmaj7 Shooting tin cans C Fmaj7 C With a sawed-off shotgun C And the corporals and neighbors Fmaj7 C Csus4 C clap and cheer with each blast C Em/b But farewell Angelina C Am The sky it is trembling Fmaj7 C And I must leave fast.

C King Kong, little elves Fmaj7 C Csus4 C In the rooftoops they dance C Valentino-type tangos Fmaj7 C Csus4 C While the heroâ&#x20AC;&#x2122;s clean hands Shut the eyes of the dead Fmaj7 C Not to embarrass anyone C Am Farewell Angelina C Am The sky is flooding over

850

Csus4 C

farewell angelina

Fmaj7 C And I must be gone.

C The camouflaged parrot Fmaj7 C He flutters from fear C when something he doesn’t Fmaj7 C suddenly appears C What cannot be imitated Fmaj7 C perfect must die C Am Farewell Angelina C Am The sky’s flooding over Fmaj7 and I must go where it is

Csus4 C

Csus4 C Am know about Csus4 C

Csus4 C

C dry

Csus4 C

C Am Machine guns are roaring Fmaj7 C Csus4 C Puppets heave rocks C At misunderstood visions F C F C and at the faces of clocks C Am Call me any name you like F(maj7) C F C I will never deny it C Am But farewell Angelina C Am The sky is erupting F(maj7) C And I must go where it’s quiet.

Am

F

C

851

The Bootleg Series 1-3

If You Gotta Go, Go Now Words and music Bob Dylan Played in an acoustic version occasionally in 1964-5, and recorded with a band in Jan 1965 during the sessions for Bringing It All Back Home. Released on The Bootleg Series 1-3 (1991) in the electric version, and on Live 1964 (2004) in a live version from the Philharmonic Hall Tabbed by Eyolf Østrem

Halloween version (NY Philharmonic Hall, 31 Oct 1964) G’/d D7/f#

xx0430 200212

[Finds his guitar to be terribly out of tune, stops the intro and says: "Don’t let that scare you! [strums] It’s just Halloween! [giggle] I have my Bob Dylan mask on.

I’m masquerading! [laughs]" ] G C/g Listen to me, baby, G C/g There’s something you must see.

G C/g I want to be with you, gal, G’/d D7(/f#) If you want to be with me.

G C/g G But if you got to go, C/g G C/g G It’s all right.

C G But if you got to go, go now, G’/d D7(/f#) G Or else you gotta stay all night.

It ain’t that I’m questionin’ you.

To take part in any quiz.

It’s just that I ain’t got no watch An’ you keep askin’ me what time it is.

But if you got to go, It’s all right.

But if you got to go, go now, Or else you gotta stay all night.

I am just a poor boy, baby, Lookin’ to connect.

But I certainly don’t want you thinkin’ That I ain’t got any respect.

But if you got to go,

852

if you gotta go, go now

It’s all right.

But if you got to go, go now, Or else you gotta stay all night.

You know I’d have nightmares And a guilty conscience, too, If I kept you from anything That you really wanted to do.

But if you got to go, It’s all right.

But if you got to go, go now, Or else you gotta stay all night.

It ain’t that I’m wantin’ Anything you never gave before.

It’s just that I’ll be sleepin’ soon, It’ll be too dark for you to find the door.

But if you got to go, It’s all right.

But if you got to go, go now, Or else you gotta stay all night.

Bootleg Series 1-3 version The phrase end lick is basically a succession of Gs and Bbs, with some prominence to the B[.

The G – C/g – G figure is somewhat more elaborate here than elsewhere. The el-guitar playes a little figure that would have to be played something like: G C/g G | . . . | . . |(3)--------------|---------|-3---3---5-6-5-3-|-----3---|-4---4---5-----4-|-----4---- etc |-5---5---5-----5-|-----5---|-----------------|---------|-----------------|----------

or something to that effect.

G G C Listen to me, baby, G C There’s something you must see.

G C I want to be with you, gal, G n.c.[lick] If you want to be with me.

853

The Bootleg Series 1-3

G C/g G But if you got to go, C/g G C/g G Itâ&#x20AC;&#x2122;s all right.

C G But if you got to go, go now, D7 [lick] G Or else you gotta stay all night.

854

sittin’ on a barbed-wire fence

Sittin’ on a Barbed-Wire Fence Words and music Bob Dylan Recorded June 15, 1965 during the Highway 61 Revisited sessions, released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Dylan is at the piano, hence the (black) key. A fair guess is that the guitars are capoed on the fourth fret. That would give the chords E (which is actually an E7-10 = 022133), B7 and A9 (x02000)

Ab I paid fifteen million dollars, twelve hundred and seventy-two cents I paid one thousand two hundred twenty-seven dollars and fifty-five cents Eb7 See my bull dog bite a rabbit Db9 Ab And my hound dog is sittin’ on a barbed-wire fence Well, my temperature rises and my feet can’t walk so hot Yes, my temperature rises and my feet can’t walk so hot Well, this Arabian doctor comes in, gives me a shot But he wouldn’t tell me what it was that I got Well, this woman I’ve got, she’s killin’ me alive Yes, this woman I’ve got, she’s killin’ me alive She’s makin’ me into an old man, and man I’m not even 25 Of course, you’re gonna think this song is a riff I know you’re gonna think this song is just a riff Unless you’ve been inside a tunnel And fell down 69, 70 feet over a barbed-wire fence All right!

855

The Bootleg Series 1-3

I’ll Keep It with Mine Words and music Bob Dylan Recorded Jan 14, 1965 and Jan 27, 1966, released on Biograph (1985) and The Bootleg Series 1-3 respectively Tabbed by Eyolf Østrem Since these are both played at the piano, the value as a guitar tab is limited, but what the heck. . .

Biograph version C/e F C/g F/a C/g You will search, babe, F C/e G/d F/a At a - ny cost.

C/e F C/g F/a But how long, babe, C/g F C/e G/d C F/a Can you search for what’s not lost?

C/e F C/g F/a C/g F C/e Ev’ry-body will help you, F C/g F/c Some people are very kind.

C F C/e Dm C F/a C/g G/d C F/a But if I can save you a - ny time, C /b F/a C/g F Come on, give it to me, C/e Dm F11 C I’ll keep it with mine.

I can’t help it If you might think I’m odd, If I say I’m loving you not for what you are But for what you’re not.

Everybody will help you Discover what you set out to find.

But if I can save you any time, Come on, give it to me, I’ll keep it with mine.

Everybody will help you Discover what you set out to find.

But if I can save you any time, Come on, give it to me, I’ll keep it with mine.

Now the train leaves At half past ten, But it’ll be back, in the same old spot again.

The conductor He’s still stuck on the line.

And if I

856

i’ll keep it with mine

can save you any time, Come on, give it to me, I’ll keep it with mine.

Bootleg series version C F/c C F/c C F/c C F/c Everybody will help you C Dm7 Discover what you set out to find.

C But if I F/a C F/a can save you any time, C F C F Come on, give it to me, G C I’ll keep it with mine.

C F/c Now the train leaves C F/c At half past ten, C F/c But it’ll be back tomorrow, C the same old time again.

C F/c C F/c C F/c C F/c The conductor he’s weary, C Dm7 He’s still stuck on the line.

C But if I F/a C F/a can save you any time, C F C F Come on, give it to me, G C I’ll keep it with mine.

I can’t help it If you might think I’m odd, If I say I’m not loving you for what you are But for what you’re not.

Everybody will help you Discover what you set out to find.

But if I can save you any time, Come on, give it to me, I’ll keep it with mine.

857

The Bootleg Series 1-3

She’s Your Lover Now Words and music Bob Dylan Recorded Jan 21, 1966 during the Blonde on Blonde sessions, and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem The “Piano song” par exellence, it takes some skill and some will (and it’s revealing!) to make it sound good on a guitar. The original is one half tone higher, in C] major, so use a capo on the 1st fret.

Note the similarity with Like A Rolling Stone.

C Dm Your pawnbroker roared, Em F Also, so, so did the landlord C/E Dm C/E F G The scene was so crazy, Wasn’t it?

C Dm Both were so glad, Em F To watch me destroy what I had C/E Dm C/E F G Pain sure brings out the best in people, doesn’t it?

Em Dm Why didn’t you just leave me If you didn’t want to stay?

Em Dm F G Why’d you have to treat me so bad? Did it have to be that way?

G F C/E Dm C /b Now you stand here expectin’ me Am /g F C/e G to remember something you forgot to say Am G Yes, and you, I see you’re still with her, well Am G G F Em Dm That’s fine ’cause she’s comin’ on so stange, can’t you tell?

C Dm C/e F Somebody better explain C Dm C/e F She’s got her iron chain, C Dm C/E F G I’d do it, but I just can’t remember how Am G You talk to her F C G She’s your lover now.

I already assumed That we were in the felony room But I ain’t a judge, you don’t have to be nice to me Will you please tell that To your friend in the cowboy hat You know he keeps on sayin’ everything twice to me

858

she’s your lover now

You know I was straight with you You know I never tried to change you in any way You know if you didn’t want to be with me That you didn’t have to stay.

Now you stand here sayin’ you forgive and forget.

Honey, what can I say?

And you, you just sit around and ask for ashtrays, can’t you reach?

I see you kiss her on the cheek everytime she gives a speech With her picture books of the pyramid And her postcard of billy the kid why must evrybody bow?

You better talk to her about it You’re her lover now.

Oh everybody that cares Is goin’ up the castle stairs But I’m not up in your castle, honey, It’s true, I can’t recall San Francisco at all I can’t even rember El Paso, uh , honey You never had to be faithful I didn’t want you to grieve Oh, why was it so hard to you If you didn’t want to be with me, just to leave?

Now you stand here while your finger’s goin’ up my sleeve An’ you, just what do you do, anyway? Ain’t there nothing you can say?

She’ll be standin’ on the bar soon With a fish head an’ a harpoon An’ a fake beard plastered on her brow You’d better do somethin’ quick She’s your lover now.

Oh, why must I fall into this sadness?

Do I look like Charles Atlas?

Do you think I still got what you still got, baby?

Her voice is really warm It’s just that it ain’t got no form But it’s just like a dead man’s last pistol shot, baby Oh, your mouth used to be naked, your eyes used to be so blue Your hurts used to be so nameless and your tears used to be so few Now your eyes cry wolf while your mouth cries: "I’m not scared of animals like you."

And you there’s really nothing about you I can recall I just saw you that one time and you were just there that’s all But I’ve already been kissed, I’m not gonna get into this I couldn’t make it anyhow You do it for me You’re her lover now

859

The Bootleg Series 1-3

I Shall Be Released Words and music Bob Dylan Recorded during The Basement sessions (1967) and released on The Bootleg Series 1-3 (1991). A different version was recorded Oct 1971 with Happy Traum (banjo) and released on Greatest Hits II (1971). A live version was released on Live 1975 (2002) Tabbed by Eyolf Østrem Capo 2nd fret (sounding key A major)

“Basement” version G

C/g

G

G Am They say ev’rything can be replaced, Bm Am G Yet ev’ry distance is not near.

G Am So I remember ev’ry face Bm Am G Of ev’ry man who put me here.

G C *) I see my light come shining Bm D *) G From the west unto the east.

G Am Any day now, any day now, Bm D/a G I shall be released.

*) Am in subsequent verses

They say ev’ry man needs protection, They say ev’ry man must fall.

Yet I swear I see my reflection Some place so high above this wall.

I see my light come shining From the west unto the east.

Any day now, any day now, I shall be released.

Now yonder standing here in this lonely crowd, a man who swears he’s not to blame.

All day long I hear his voice shouting so loud, Crying out that he was framed.

I see my light come shining From the west unto the east.

Any day now, any day now, I shall be released.

860

i shall be released

Greatest Hits vol. 2 version Capo 2nd fret (sounding key A major) Intro (with a triple-time feel): : . . . : . . . : . . . : . . . |-----------------|-----------------|----------(0)----|-3-------3------|---3-----3-------|---2-----2-------|---1-----1-------|-0--(0)--1------|---3-----3-------|---0-----0-------|---0-----0-------|-0--(0)--0------|-3-----3-----3---|-2-----2-----2---|-1-----1-----0---|-0--(0)--2------- etc |-----------------|-----------------|-----------------|-2--(2)---------|-----------------|-----------------|-----------------|-3-------3------G Am They say ev’ry man must need protection, Bm D G C/g They say ev’ry man must fall.

G Am Yet I swear I see my reflection Bm D G C/g Some place so high above the wall.

G

G

G Am I see my light come shining Bm D G From the west down to the east.

G Am Any day now, any day now, Bm D G I shall be released.

Down here next to me in this lonely crowd, there’s a man who swears he’s not to blame.

All day long I hear him cry so loud, Callin’ out that he’s been framed.

I see my light come shining From the west down to the east.

Any day now, any day now, I shall be released.

Live 1975 version Capo 2nd fret |: G . . C/g

:|

G [n.c] Am(7) They say ev’rything can be replaced, Bm(7) D G C/g Yet ev’ry distance is not near.

G Am(7) So I remember ev’ry face

G

861

The Bootleg Series 1-3

Bm(7) D G Of ev’ry man who put me here.

G Am I see my light come shining Bm D G From the west unto the east.

G Am Any day now, any day now, Bm . . D G I shall be released.

Budokan version G#m7 F#m7 A#o B11

464444 242222 x12020 x22222

E G#m F#m They say ev’rything can be replaced, E G#m F#m Yet ev’ry distance is not near.

E G#m F#m So I remember ev’ry face E G#m F#m Of ev’ry man who put me here.

E G#m7 F#m7 I see my light come shining D A E From the west unto the east.

E G#m7 F#m7 Any day now, any day now, E

E/g#

A

A#o

E/b

[B11 E] I shall be released.

Alternate lyrics From the Martin Luther King Jr. Tribute, Washington, DC January 20, 1986 They say every man needs protection They say that every man must fall I swear I see my own reflection Somewhere so high above this wall I see my light come shinin’ I don’t need no doctor or no priest 862

i shall be released

Any day now, any day now I shall be released It don’t take much to be a criminal One wrong move and they’ll turn you into one At first decay is just subliminal To protect yourself and your forever on the run I see my light come shinin’ I don’t need no doctor or no priest Any day now, any day now I shall be released He will find you where your stayin’ Even in the arms of somebody elses wife Your laughin’ now, you should be prayin’ To be in the midnight hour of your life I see my light come shinin’ I don’t need no doctor or no priest Any day now, any day now I shall be released

863

The Bootleg Series 1-3

Santa Fe Written by Bob Dylan Recorded during the Basement sessions with the Band, and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Capo 2nd fret (sounding key A major) Intro figure: G C/g G : . . . |-3---3-3---3-3-3-| |-0---0-0---0-1-0-| |-0---0-0---0-0-0-| |-0---0-0---0-2-0-| |-2---2-2---2---2-| |-3---3-3---3-3-3-|

G Sante Fe, C D G dear dear dear dear dear Sante Fe C G My woman needs every day C G She promised to let me stay C G D She’s rollin’ up a knot to pray to gods away G She’s in Sante Fe C D G Dear dear dear dear dear Santa Fe. C G Now she opens up and lets me home C G She’s brown but she keeps from roam C G She’ll open up a happy home C D G She’ll think when will that be warm in Sante Fe. Sante Fe, dear dear dear dear Sante Fe She’s arms never teach to roam They’re never never far from home I’ll never ever ever roam To sail away She’s all feel bad No no no no don’t don’t don’t feel bad She’s the worst thing he’s ever had She’s a mad, man that he’s so glad She’s over above the hat to bad She’s never disappear so bad I went away.

864

santa fe

Sante Fe, dear dear dear dear dear dear Sante Fe My own heart city lay I won’t have a nature way And I’m leavin’ every day to run away From Sante Fe, dear dear dear dear dear Sante Fe. My woman’s left sittin’ at home She’s actin’ the police unknown She cried like an evening stone She leap back under a broom But she ain’t gonna find a room And the tears send her on own ever day.

865

The Bootleg Series 1-3

Wallflower Words and music Bob Dylan Recorded Nov 4, 1971 after the sessions for New Morning (1970), and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Either the tape is slow or the instruments have been tuned down a semitone. Either way, the sounding key is F] major, but the tab is in G. Chords: Dadd9/c x30230 G6/b x20030

G D G : . . : . . : . . |---7-----7---|---6-----5---|-3------|-------------|-------------|--------|-7-----7-----|-6-----5-----|-4------- etc. |-------------|-------------|--------|-------------|-------------|--------|-------------|-------------|--------G G Wallflower, wallflower C G C/g-G Won’t you dance with me?

D I’m sad and lonely too.

G Wallflower, wallflower C G C/g-G Won’t you dance with me?

G D G I’m fallin’ in love with you.

D G Just like you I’m wondrin’ what I’m doin’ here.

A D Dadd9/c G6/b Just like you I’m wondrin’ what’s goin’ on.

Wallflower, wallflower Won’t you dance with me?

The night will soon be gone.

I have seen you standing in the smoky haze And I know that you’re gonna be mine one of these days, Mine alone.

Wallflower, wallflower Take a chance on me.

Please let me ride you home.

866

D/a

nobody ’cept you

Nobody ’Cept You Words and music Bob Dylan Recorded Nov 2, 1973 during the Planet Waves sessions, released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem

G G D G Nothing ’round here to me that’s sacred Em C ’Cept you, yeah you G D G there’s nothing round here to me that matters Em C ’Cept you, yeah you C You’re the one that reaches me G You’re the one that I admire C Every time we meet together G I feel like I’m on fire C Nothing matters to me G Em And there’s nothing I desire C Am ’Cept you, yeah you Nothing ’round here I care to try for ’Cept you, yeah you Got nothing here to live or die for ’Cept you, yeah you There’s a hymn I used to hear In the churches all the time Make me feel so good inside So peaceful, so sublime And there’s nothing that remind me of that Old familiar chime Except you, uh huh you C Used to run in the cemetery G Dance and sing and run when I was a child and it never seemed strange C Now I just pass mournfully G By that place where the bones of life are piled

867

The Bootleg Series 1-3

I know somethin’ has changed I’m a stranger here and no one sees me ’Cept you, yeah you Nothing anymore seems to please me ’Cept you, yeah you Nothing hypnotizes me Or holds me in a spell Everything runs by me Just like water from a well Everybody wants my attention Ev’rybody’s got something to sell ’Cept you, yeah you.

Am G I’m in love with you.

868

golden loom

Golden Loom Words and music Bob Dylan Recorded during the glorious Desire session Jul 30, 1975, and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem

G n.c.

G Smoky autumn night, stars up in the sky, I see the sailin’ boats across the bay go by.

C Eucalyptus trees hang above the street G And then I turn my head, for you’re approachin’ me.

Am Bm C D Moonlight on the water, fisherman’s daughter, floatin’ in to my room G With a golden loom.

First we wash our feet near the immortal shrine And then our shadows meet and then we drink the wine.

I see the hungry clouds up above your face And then the tears roll down, what a bitter taste.

And then you drift away on a summer’s day where the wildflowers bloom With your golden loom.

I walk across the bridge in the dismal light Where all the cars are stripped between the gates of night.

I see the trembling lion with the lotus flower tail And then I kiss your lips as I lift your veil.

But you’re gone and then all I seem to recall is the smell of perfume And your golden loom.

869

The Bootleg Series 1-3

Catfish Words by Bob Dylan & Jacques Levy, music by Bob Dylan Recorded Jul 28, 1975, during the Desire sessions, released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem C7-9 = 32323 Intro: G : . . . : . . . |-------------------------|-3-----------------------| |--------(0)----0---------|-0-----------------------| |-3---0-3---0-3--/5-----0-|-------------------------| x2 |-0-----------------------|-------------------------| |-------------------------|-------------------------| |-3-----------------------|-------------------------| G Lazy stadium night Catfish on the mound "Strike three”, the umpire said Batter has to go back an’ sit down.

C7-9 G Catfish, million dollar man D7 (/Bb) G Nobody can throw the ball like Catfish can.

Used to work on Mr. Finley’s farm *) But the old man wouldn’t pay So he packed his glove and took his arm An’ one day he just ran away.

Catfish, million dollar man Nobody can throw the ball like Catfish can.

Come up where the yankees are Dress up in a pin-stripe suit Smoke a custom-made cigar Wear an alligator boot.

Catfish, million dollar man Nobody can throw the ball like Catfish can.

870

: . . . *) |-7---7-6---7-------------|-6---6-5---6-------------|-7---7-6---7-------------|-------------------------|-------------------------|--------------------------

seven days

Seven Days Words and music Bob Dylan Performed during the Rolling Thunder Revue II (1976) Released in a live version from Tampa, Florida, Apr 21, 1976 on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem It’s hard to tell from the live version what he’s actually singing in the bridge. The suggestion below has the one advantage that it rhymes. If you come up with something better, give me a hint.

Go to bobdylan.com for the official lyrics, which differ on one or two places.

Em C Seven days, seven more B7 I’ll be waiting at the B7 Seven more days, all I

G days she’ll be comin’ Em Am station for her to arrive Em gotta do is survive.

She been gone ever since I been a child Ever since I seen her smile, I never forgotten her eyes.

She had a face that outshine the sun in the skies.

I been good, I been good while I been waitin’ Maybe guilty of hesitatin’, But I’ve been hangin’ on Seven more days, all that’ll be gone.

D There’s kissing in the valley, A Thieving in the alley, B7 Em Fighting every inch of the way.

D Trying to get a lead on A somebody to beat [?] on B7 Well, the nights are always sadder than the day.

B7 : . . . x3 : . . . . |-----------------|-------------------2-------------|-----------------|-------------------0-------------|-----------------|-------------------2-------------|-----------------|-------------------1-------------|-2-2-0-0---------|-----0-2-0---------2-------------|--------3-3-2-22-|-2-3-------3-2-------------------day Seven days Seven days, seven more days that are connected Just like I expected, she’ll be comin’ on forth, My beautiful comrade from the north.

There’s fighting in the valley,

871

The Bootleg Series 1-3

Thieving in the alley, Fighting every inch of the way.

Trying to get a lead on somebody new to beat on the nights are always sadder than the day.

872

ye shall be changed

Ye Shall Be Changed Words and music Bob Dylan Recorded May 2, 1979 for Slow Train Coming, and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem

|: Bb

Eb/g Bb/f

Eb

Ab Eb

:|

Cm You harbor resentment Dm Cm Bb You know there ain’t too much of a thrill Cm You wish for contentment Dm Eb Bb But you got an emptiness that can’t be filled Cm Dm You’ve had enough of hatred Eb F Your bones are breaking (and you) can’t find nothing sacred, (but) Bb Eb/g Bb/f Eb Ab Eb Bb Eb/g Bb/f [chords x2] Ye shall be changed, Bb Eb/g Bb/f Eb Ab Eb Bb Eb/g Bb/f [x2] Ye shall be changed.

F Bb F Eb Ab Eb In a twinkling of an eye, when the last trumpet blows F Bb F Eb Ab Eb The dead will arise and burst out of your cloths Bb Eb/g Bb/f Eb Ab Eb Bb Eb/g Bb/f [x2] And ye shall be changed Everything you’ve gotten You’ve gotten by sweat, blood and muscle From early in the morning ’til way past dark All you ever do is hustle All your loved ones have walked out the door You’re not even sure ’bout your wife and kids no more, but Ye shall be changed, ye shall be changed In a twinkling of an eye, when the last trumpet blows The dead will arise and burst out of your cloths And ye shall be changed (Now) the past don’t control you But the future’s like a roulette wheel spinning (And) deep down inside You know you need a whole new beginning Don’t have to go to Russia or Iran Just surrender to God and He’ll move you right here where you stand, and Ye shall be changed, ye shall be changed In a twinkling of an eye, when the last trumpet blows The dead will arise and burst out of your cloths And ye shall be changed

873

The Bootleg Series 1-3

You drink bitter water And you been eating the bread of sorrow You can’t live for today When all you’re ever thinking of is tomorrow The path you’ve endured has been rough And when you’ve decided that you’ve had enough, then Ye shall be changed, ye shall be changed In a twinkling of an eye, when the last trumpet blows The dead will arise and burst out of your cloths And ye shall be changed

Version with capo 3rd fret: |: G

C/e G/d

C

F C:|

Am You harbor resentment Bm Am G You know there ain’t too much of a thrill Am You wish for contentment Bm C G But you got an emptiness that can’t be filled Am Bm You’ve had enough of hatred C D Your bones are breaking (and you) can’t find nothing sacred, (but) G Ye G Ye

C F C G C/e G/d C F C [chords x2] shall be changed, C/e G/d C F C G C/e G/d C F C [x2] shall be changed.

D G D C F C In a twinkling of an eye, when the last trumpet blows D G D C F C The dead will arise and burst out of your cloths G C/e G/d C F C G C/e G/d C F C [x2] And ye shall be changed

874

C/e G/d

you changed my life

You Changed My Life Words and music Bob Dylan Recorded Apr 23, 1981 during the Shot of Love sessions, released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem

D /c# I was listening to the voices of death on parade /c G Singin’ about conspiracy, wanting me to be afraid Gm6 D Working for a system I couldn’t understand or trust Asus4 A Suffering ridicule and wanting to give it all up in disgust.

D G D But you changed my life D G A Came along in a time of strife G D In hunger and need you made my heart bleed D A D You changed my life.

Talk about They got a You do the They’ll be

salvation, people suddenly get tired million things to do, they’re all so inspired work of the devil you got a million friends there when you got something, they’ll take it all in the end.

But you changed my life Came along in a time of strife In hunger and need you made my heart bleed You changed my life.

When the nature of man is to beg and to steal I do it myself, it’s not so unreal The call of the wild’s forever at my door Want me to fly like an eagle while being chained to the floor.

But you changed my life Came along in a time of strife In hunger and need you made my heart bleed You changed my life.

When I was eatin’ with the pigs off a fancy tray I was told I was lookin’ good and to have a nice day It all seemed so proper, it all seemed so elite Eatin’ that obsolete garbage while being so discreet.

But you changed my life Came along in a time of strife In hunger and need you made my heart bleed You changed my life.

875

The Bootleg Series 1-3

You were glowing While orphans of You eyes were on In the world you

in the sun while being peaceable calm man dance to the beat of the palm fire, your feet were of brass had made they had made you an outcast.

But you changed my life Came along in a time of strife In hunger and need you made my heart bleed You changed my life.

Thereâ&#x20AC;&#x2122;s someone in my body that I could hardly see Invading my privacy making my decisions for me Holding me back, not letting me stand Making me feel like a stranger in a strange land.

But you changed my life Came along in a time of strife In hunger and need you made my heart bleed You changed my life.

My lord and my savior, my companion, my friend Heart"fixer, mind"regulator, true to the end My creator my comforter my cause for joy While the world is set against what will never destroy.

But you changed my life Came along in a time of strife In hunger and need you made my heart bleed You changed my life.

876

need a woman

Need A Woman Words and music Bob Dylan Recorded May 1981 during the Shot of Love sessions, and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem A Lately I’ve been having evil dreams, E A I wake up in a cold blue glare I run the tape back in my mind, E wonderin’ if I took the wrong road somewhere.

D Searching for the truth the way God designed it, Well, the real truth is that I may be afraid to find it A G D A Well I need a woman, all right G D A Need a woman, every night.

D To be with me and know me as I am, To show me the kind of love that don’t have to be condemned E A And I want you to be that woman Yes, I do G D A G D A (every day, be that woman every way) I’ve had my eyes on you baby for five long years, Well, you probably don’t know me at all, but I have seen your laughter and I’ve seen your tears.

A tell-tale heart will show itself to anybody near There’s always some new stranger in the night To lend a sympathetic ear.

Well I need a woman to be my own Need a woman that’s mine alone.

Seen you in the doorway, I seen your in the park, Seen you in the sunshine, I seen you in the dark.

And I want you to be that woman.

(Oh oh oh, Be that woman every way).

You keep listening to something long enough you just bound to believe that it’s true.

You know there’s some things that you put up, it’s gonna come back on you The [...] is not common and don’t last Whatever’s waiting in the future could be what you’re running from in the past I need a woman, [ah pull up] Need a woman, [ticket from the same stub] (?) :-)

877

The Bootleg Series 1-3

Someone who likes simple things, is not afraid to bend Someone who don’t make herself up to make every man her friend And I want you to be that woman (every day, be that woman every way) Don’t know what you got that I want, Don’t know what I got to give Don’t know how much time I’ve got, don’t know how long I live The rebellion in my soul - why was it created?

To blur the focus of my mind and keep me isolated But I need a woman, ain’t no crime Need a woman, all the time To see the promised land with me as the time goes by To rule my heart with sweetness and boldness from on high And I want you to be that woman, Yes I do Be that woman straight and true.

878

angelina

Angelina Words and music Bob Dylan Recorded May 1981 during theShot of Love sessions, and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem and Einar Stenseng Read Daniel Syrovy’s essay on this song. Or read Michael Gray’s analysis of this song, in his book Song & Dance Man III. As this is a “piano song”, it is played in C] major (He prefers the black keys on the piano). On a guitar I’d suggest a capo on the 1st fret (chords of C major:F, C, G) or on the 4th fret (chords of A major:D, A, E)

C# F# C# Well it’s always beenmy nature to take chances G# C# My right hand drawing back while my left hand advances F# C# Where the current is strong and the monkey dances G# To the tune of a concertina Blood drying in my yellow hair as I go from shore to shore I know what it is that has drawn me to your door But whatevercould it be makes you think you’ve seen me before Angelina F# C# G# Oooh-oh, Angelina F# C# G# Oooh-oh, Angelina His eyes were two slits make any snake proud With a face that any painter would paint as he walked through the crowd Worshipping a god with the body of a woman well endowed And the head of a hyena Do I need your permission to turn the other cheek If you can read my mind, why must I speak?

No, I have heard nothing about the man that you seek Angelina Oooh-oh, Angelina Oooh-oh, Angelina In the valley of the giants where the stars and stripes explode The peaches they were sweet and the milk and honey flowed I was only following instructions when the judge sent me down the road With your subpoena When you cease to exist then who will you blame?

I’ve tried my best to love you, but I cannot play this game Your best friend and my worst enemy is one and the same

879

The Bootleg Series 1-3

Angelina Oooh-oh, Angelina Oooh-oh, Angelina There’s a black Mercedes rolling through the combat zone Your servants are half dead, you’re down to the bone Tell me tall man, where would you like to be overthrown?

In Jerusalem or Argentina?

She was stolen from her mother when she was three days old Now her vengeance has been satisfied and her possessions have been sold He’s surrounded by God’s angels and she’s wearing a blindfold But so are you, Angelina Oooh-oh, Angelina Oooh-oh, Angelina I see pieces of men marching, tryin’ to take heaven by force I can see the unknown rider, I can see the pale white horse In God’s truth, name, tell me what you want and you’ll have it of course Just step into the arena Beat a path of retreat up them spiral staircases Pass the tree of smoke, pass the angel with four faces Begging god for mercy and weeping in unholy places Angelina Oooh-oh, Angelina Oooh-oh, Angelina Oooh-oh, Angelina (Oooh-oh, Angelina) (Oooh-oh, Angelina)

880

tell me

Tell Me Words and music Bob Dylan Recorded spring 1983 during the Infidels sessions, released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem The Bs are tinted with B7.

The Es at the end of the three-line verses glide into E7 when more of these verses follow eachother.

E

B

E

B

E B Tell me, I’ve got to know.

E B Tell me, tell me before I go.

A Does that fire still burn? Does that flame still glow?

E Or has it died out and melted like the snow.

B E (E7) Tell me. Tell me.

Tell me, what are you focused upon?

Tell me, will it come to me after you’re gone? *) Tell me now with a glance on the side.

Shall I hold you close or let you go by?

Tell me. Tell me.

Is that the heat and the beat of your pulse that I feel?

If it’s not that, then what is it that you’re trying to conceal?

Do you have any secrets that will only come out in time?

Do you lie in your bed do you stare at the stars?

Is your main friend someone who’s an old acquaintance of ours?

Tell me. Yes, tell me.

Tell me, are those rock ’n’ roll dreams in your eyes?

Tell me behind what door your treasure lies.

Ever gone broke in a big way?

Ever done the opposite of what the experts say?

Tell me. Tell me.

Is it some kind of game that you’re playin’ with my heart How deep must I go, where do I start?

Do you have any morals? Do you have any point of view?

Is that a smile that I see on your face?

Will it lead me to glory or lead me to disgrace?

Tell me. Tell me.

Tell me, is that my name in your book?

Tell me, will you go back and take another look?

881

The Bootleg Series 1-3

Tell me the truth, donâ&#x20AC;&#x2122;t tell me no lies.

Are you anybody, someone, prays for, or cries?

Tell me. Tell me.

*) Played: A/e E A/e E B Tell me, will it come to me after youâ&#x20AC;&#x2122;re gone?

882

lord, protect my child

Lord, Protect My Child Words and Music Bob Dylan Recorded May 3, 1983 during the Infidels sessions, and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem

C/g |: G

.

.

. C/g :|

G7 For his age, he’s wise C G C/g G He’s got his mother’s eyes Em There’s gladness in his heart D G/d D He’s young and he’s wild G G7 My only prayer C Cm is, if I can’t be there, G D G Lord, protect my child As his youth now unfolds He is centuries old Just to see him at play makes me smile No matter what happens to me No matter what my destiny Lord, protect my child While the world is asleep You can look at it and weep Few things you find are worthwhile And though I don’t ask for much No material things to touch Lord, protect my child He’s young and on fire Full of hope and desire In a world that’s been raped, raped and defiled If I fall along the way And can’t see another day Lord, protect my child There’ll be a time I hear tell When all will be well When God and man will be reconciled But until men lose their chains And righteousness reigns Lord, protect my child

883

The Bootleg Series 1-3

Foot Of Pride Words and music Bob Dylan Recorded for Infidels (and what an album that would have been with this and Blind Willie on instead of . . . ), and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem

B-figure: E-figure : . . . : . . . |-----------------||-----------------|| |-----------------||-----------------|| |-4-----4-2-2-4-4-||-----------------|| |-4-----4-2-2-4-4-||-2-----2-0-0-2-2-|| |-2---------------||-2-----2-0-0-2-2-|| |-----------------||-----------------||

B Like the lion tears the flesh off of a man So can a woman who passes herself off as a male They sang "Danny Boy" at his funeral and the Lord’s Prayer Preacher talking ’bout Christ betrayed E It’s like the earth just opened and swallowed him up He reached too high, was thrown back to the ground B You know what they say about bein’ nice to the right people on the way up Sooner or later you gonna meet them comin’ down B G#m E Well, there ain’t no goin’ back when your foot of pride come down B Ain’t no goin’ back Hear ya got a brother named James, don’t forget faces or names Sunken cheeks and his blood is mixed He looked straight into the sun and said revenge is mine But he drinks, and drinks can be fixed Sing me one more song, about ya love me to the moon and the stranger And your fall by the sword love affair with Erroll Flynn in these times of compassion when conformity’s in fashion Say one more stupid thing to me before the final nail is driven in.

Well, there ain’t no goin’ back when your foot of pride come down Ain’t no goin’ back There’s a retired businessman named Red, cast down from heaven and he’s out of his head He feeds off of everyone that he can touch

884

foot of pride

He said he only deals in cash or sells tickets to a plane crash He’s not somebody that you play around with much Miss Delilah is his, a Philistine is what she is She’ll do wondrous works with your fate Feed you coconut bread, spice buns in your bed If you don’t mind sleepin’ with your head face down in a grave.

Well, there ain’t no goin’ back when your foot of pride come down Ain’t no goin’ back Well they’ll choose a man for you to meet tonight You’ll play the fool and learn how to walk through doors How to enter into the gates of paradise No, how to carry a burden too heavy to be yours Yeah, from the stage they’ll be tryin’ to get water outta rocks A whore will pass the hat, collect a hundred grand and say thanks They like to take all this money from sin, build big universities to study in Sing "Amazing Grace" all the way to the Swiss banks Well, there ain’t no goin’ back when your foot of pride come down Ain’t no goin’ back They got some beautiful people out there, man They can be a terror to your mind and show you how to hold your tongue They got mystery written all over their forehead They kill babies in the crib and say only the good die young They don’t believe in mercy Judgment on them is something that you’ll never see They can exalt you up or bring you down main route Turn you into anything that they want you to be Well, there ain’t no goin’ back when your foot of pride come down Ain’t no goin’ back Yes, I guess I loved him too I can still see him in my mind climbin’ that hill Did he make it to the top, well he probably did and dropped Struck down by the strength of the will Ain’t nothin’ left here partner, just the dust of a plague that has left this whole town afraid From now on, this’ll be where you’re from Let the dead bury the dead. Your time will come Let hot iron blow as he raised the shade Well, there ain’t no goin’ back when your foot of pride come down Ain’t no goin’ back

885

The Bootleg Series 1-3

Blind Willie McTell Words and music Bob Dylan (the melody loosely based on “St James Infirmary Blues”) Recorded during the Infidels sessions (1991), but not released until The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem Guitar tuned down one half step (sounding key Eb minor) (Otherwise: put a capo on the 1st fret and play in Dm – see chords below).

The guitar part is played on a 12-string, so it’s impossible to be certain about the exact picking pattern.

The following is a suggestion, where only the most prominent tones have beee indicated – the rest is picking over the indicated chords.

Since the 12-string has string pairs tuned an octave apart for the lowest strings, the highest notes in the figure *) below are actually played on the 4th string. Too bad for all you 6-stringers out there, but that’s the bitter truth: you won’t be able to get that sound. . . (Actually there is a way – see bottom of page) Em B7 Em : . . . : . . . : . . . : . . . |---0-------0-----|---0-------------|---------3-------|-----------------|--|-------0-------0-|-----------------|--faster picking-|-----------------|--|-----0-------0---|-------0---------|-----------------|-----------------|--|-2-------2-------|-2--/4---4-2-0---|-2---2-----------|-2---------------|-2|-----------------|---------------2-|---------------2-|--------h2-------|--|-----------------|-----------------|-----------------|-----------------|---

Em B7 Em *) Seen the arrow on the doorpost Em B7 Em *) Saying, "This land is condemned Em B7 D A All the way from New Orleans C D Em To Jerusalem."

Em B7 Em *) I traveled through East Texas Em B7 Em *) Where many martyrs fell Em B/ D A And I know no one can sing the blues C D Em Like Blind Willie McTell **)

Well, I heard the hoot owl singing As they were taking down the tents The stars above the barren trees Were his only audience Them charcoal gypsy maidens Can strut their feathers well But nobody can sing the blues Like Blind Willie McTell

886

Em D Em D : . . . *) |-0---0-----------| |---0---3-5---3---| |----0------------| |-2-----4-5---4---| |-----------------| |-----------------|

: . . . **) |----0-----0------| |*-----0-3-------*| |-----0-------0---| |--2---------2----| |*------------h2-*| |-----------------|

blind willie mctell

See them big plantations burning Hear the cracking of the whips Smell that sweet magnolia blooming (And) see the ghosts of slavery ships I can hear them tribes a-moaning (I can) hear the undertaker’s bell (Yeah), nobody can sing the blues Like Blind Willie McTell There’s a woman by the river With some fine young handsome man He’s dressed up like a squire Bootlegged whiskey in his hand There’s a chain gang on the highway I can hear them rebels yell And I know no one can sing the blues Like Blind Willie McTell Well, God is in heaven And we all want what’s his But power and greed and corruptible seed Seem to be all that there is I’m gazing out the window Of the St. James Hotel And I know no one can sing the blues Like Blind Willie McTell

Version in Dm (capo 1st fret): Dm A Dm C Seen the arrow on the doorpost Dm A Dm C Saying, "This land is condemned Dm A C G All the way from New Orleans Bb C Dm To Jerusalem."

Dm A Dm C I traveled through East Texas Dm A Dm C Where many martyrs fell Dm A C G And I know no one can sing the blues Bb C Dm Like Blind Willie McTell

End-of-the-line lick for 6-stringers: |---0---2-3---2---| |-----0-3-5---3---| |----0------------| |-2-----4-5---4---| |-----------------| |-----------------|

887

The Bootleg Series 1-3

Series of Dreams Words and music Bob Dylan Recorded Apr 1989 for Oh Mercy, and released on The Bootleg Series 1-3 (1991) Tabbed by Eyolf Østrem

C C G C I was thinking of a series of dreams C G C Where nothing comes up to the top C G C Everything stays down where it’s wounded C F And comes to a permanent stop C Wasn’t thinking of anything specific F Like in a dream, when someone wakes up and screams C Nothing too very scientific G C Just thinking of a series of dreams Thinking of a series of dreams Where the time and the tempo fly And there’s no exit in any direction ’Cept the one that you can’t see with your eyes Wasn’t making any great connection Wasn’t falling for any intricate scheme Nothing that would pass inspection Just thinking of a series of dreams Am F C Dreams where the umbrella is folded Am F C Into the path you are hurled Am F C And the cards are no good that you’re holding C G Unless they’re from another world In one, numbers were burning In another, I witnessed a crime In one, I was running, and in another All I seemed to be doing was climb Wasn’t looking for any special assistance Not going to any great extremes I’d already gone the distance Just thinking of a series of dreams

888

34 Good As I Been To You Recorded June–July 1992 — Released November 3, 1992

890 892 895 898 900 902 904 906 908 909 912 914 917

Frankie & Albert Jim Jones Black Jack Davey Canadee-i-o Sittin’ on Top of the World Little Maggie Hard Times Step It Up And Go Tomorrow Night Arthur McBride You’re Gonna Quit Me, Baby Diamond Joe Froggie Went A-Courtin’

Good As I Been To You

Frankie & Albert trad., arr. Bob Dylan Released on Good As I Been To You (1992) Tabbed by Eyolf Østrem The guitar is tuned ca. a semitone low.

What can I say? Lots of creative strumming here, which is virtually un-tab-able. The intro is just an approximation, of course . . .

The G’s are played with hammer-ons (1-2) on the fifth string throughout, and the melody is played over the Cs, on the 3rd string (drop the second finger from the 4th string (this is beginning to sound like Highway 61 . . . ) and damp the string with the 3rd finger, playing something like this, while strumming what’s left of the C chord: C : . . . : . . . : . . . |-----------------|-----------------|-----------------|----|-1---------------|-----------------|-----------------|----|-0---0---2---2---|-3---2---2---0---|-3-3-2---0-------|-0--|-2---------------|-----------------|-----------2-----|-0--|-3---------------|-----------------|-----------------|-2--|-----------------|-----------------|-----------------|-3---

Intro: G : . . . : . . . : . . . : . . . |------------------|-----------------|-----------------|-------------|------------------|-----------------|-----------------|-------------|------------------|-----------------|-----------------|-------------- etc. |-/5-----5---5-5---|-0-3-3-0---------|-----------------|---2-2-0------ over a |------------------|---------3---0-1-|-2---0-1-2-------|-------------- G chord |------------------|-----------------|-------------3-3-|-3-------3---G Frankie was a good girl, everybody knows.

C G Paid one hundred dollars for Albert’s new suite of clothes.

D G He was her man but he done her wrong.

Albert said, "I’m leaving you. Won’t be gone for long.

Don’t wait up for me. A-worry about me when I’m gone."

He was her man but he done her wrong.

Frankie went down to the corner saloon, get a bucket of beer.

Said to the bartender: "Has my lovin’ man been here?"

He was her man but he done her wrong.

Instrumental "Well, I ain’t gonna tell you no stories, I ain’t gonna tell you no lies.

I saw Albert an hour ago. With a gal named Alice Bly." He was her man but he done her wrong.

890

frankie & albert

Frankie went down to 12th Street, lookin’ up through the window high.

She saw her Albert there, lovin’ up Alice Bly. He was her man but he done her wrong.

Instrumental Frankie pulled out a pistol, pulled out a forty-four.

Gun went off a rootie-toot-toot, and Albert fell on the floor.

He was her man but he done her wrong.

Frankie got down upon her knees, took Albert into her lap.

Started to hug and kiss him, but there was no bringin’ him back.

He was her man but he done her wrong.

Instrumental "Gimme a thousand policemen. Throw me into a cell.

I shot my Albert dead, and now I’m goin’ to hell.

He was her man but he done me wrong."

Judge said to the jury: "Plain as a thing can be.

A woman shot her lover down. Murder in the second degree."

He was her man but he done her wrong.

Instrumental Frankie went to the scaffold, calm as a girl could be.

Turned her eyes up towards the heavens. Said, "Nearer, my God, to Thee."

He was her man but he done her wrong.

891

Good As I Been To You

Jim Jones Trad.

Released by Bob Dylan on Good As I Been To You (1992) Tabbed by Eyolf Østrem

C Csus4 C Csus4 C Come and listen for a moment, lads, F And hear me tell my tale.

C G How across the sea from England F G I was condemned to sail.

C Csus4 C Now the jury found me guilty, F Then says the judge, says he, C G "Oh, for life, Jim Jones, I’m sending you F C Csus4 Across the stormy sea.

F But take a tip before you ship C Csus4 C To join the iron gang.

F Don’t get too gay in Botany Bay, C Csus4 C G Or else you’ll surely hang.

C Csus4 C Or else you’ll surely hang," says he.

F "And after that, Jim Jones, C G It’s high up upon the gallows tree F C The crows will pick your bones."

F G F C Csus4 C G | . . . | . . . | . . . | . . . |-1---------------|-----------------|-----------------|-3----------------|-1---1-------3---|-1---------1-----|-1---------------|-0----------------|-2---0-2-----4---|-2-----0h2-------|-0---0-0---0-----|-0----------------|-3---3-------5---|-3---------------|-2---3-3---2-----|-0----------------|-3---------------|-----------------|-3---3-3---3-----|-2----------------|-1---------------|-----------------|-----------------|-3-----------------Well...

Well our ship was high upon the sea when pirates came along, But the soldiers on our convict ship Were full five hundred strong.

892

jim jones

For they opened fire and somehow drove That pirate ship away.

But I’d rather have joined that pirate ship Than gone to Botany Bay. With the storms ragin’ round us, And the winds a-blowin’ gales, I’d rather have drowned in misery Than gone to New South Wales.

There’s no time for mischief there, they say remember that says they oh they’ll flog the poaching out of you down there in Botany Bay Now it’s day and night and the irons clang, And like poor galley slaves We toil and toil, and when we die Must fill dishonored graves, And it’s by and by I’ll slip my chains, Well, into the bush I’ll go And I’ll join the brave bush rangers there, Jack Donohue and co.

And some dark night, when everything Is silent in the town I’ll shoot those tyrants one and all, I’ll gun the flogger down.

Oh, I’ll give the land a little shock, Remember what I say, And they’ll yet regret they’ve sent Jim Jones In chains to Botany Bay.

Supper club version (17 nov 1993) A Come and listen for a moment, lads, D And hear me tell my tale.

A E How across the sea from England D E I was condemned to sail.

A Now the jury found me guilty, D Then says the judge, says he, A E "Oh, for life, Jim Jones, I’m sending you D E A Across the stormy sea.

D But take a tip before you ship A To join the iron gang.

D Don’t get too gay in Botany Bay,

893

Good As I Been To You

A E Or else you’ll surely hang.

A Or else you’ll surely hang," says he.

D "And after that, Jim Jones, A E It’s high up upon the gallows tree D E A The crows will pick your bones."

894

black jack davey

Black Jack Davey Trad. /arr. Bob Dylan Released on Good As I Been To You (1992) and played live occasionally in 1993 Tabbed by Eyolf Østrem Let the 2nd string sound during the Gm strumming – that’s what creates that delightful clash between the B[ of the melody and the B of the strumming.

And, of course, there are plenty of variations from one verse to another.

Capo 4th fret (sounding key B minor) Intro: Gm Dm : . . . : . . . : . . . : . . . |---------------------------------|-----------------1---------------| |----(0)---(0)-etc.---------------|-----------------0h3-------------| |-----0-----0---------------------|-----------------0h2-------------| |-----------------0---------------|-----------------0---------------| |---------1---3-------1-----------|---------1---3-------------------| |-3-----------------------3-------|-0h3-3---------------------------| Gm F : . . . : . . . : . . . : . |---------------------------------|-----------------1-------| |---------------------------------|-----------------1-------| |-----------0---0---0---0---------|-------0---0-----2-------| |-----------------0---------------|-----------------3-------| |---------1---3-------1-----------|---------1---0-----------| |-0h3-3-3-----------------3-------|-0h3-3-------------------| C Gm : . . . : . . . : . . . : . . . : . . . |-0-0-0-3--------------------|-----------------3----------------------| |-1-1-1-1---1-1--------------|-----------------3----------------------| |-0-0-0-0---0-0---etc.-------|-----------------3----------------------| |-2-2-2-2---2-2--------------|-----3p0---------5----------------------| |-3---------3-3--------------|/5-------3-------5----------------------| |----------------------------|-------------6---3----------------------| Gm Black Jack Davey come a-riden’ on back, Dm A-whistlin’ loud and merry.

Gm Made the woods around him ring, F C And he charmed the heart of a lady, Gm Charmed the heart of a lady.

"How old are you, my pretty little miss, How old are you, my honey" She answered to him with a lovin’ smile "I’ll be sixteen come Sunday,

895

Good As I Been To You

Be sixteen come Sunday."

"Come and go with me, my pretty little miss, Come and go with me, my honey, Take you where the grass grows green You never will want for money You never will want for money "Pull off, pull off them high-heeled shoes All made of Spanish leather.

Get behind me on my horse And we’ll ride off together, We’ll both go off together."

Well, she pulled off them high-heeled shoes Made of Spanish leather.

Got behind him on his horse And they rode off together.

They rode off together.

At night the boss came home Inquiring about this lady.

The servant spoke before she thought, "She’s been with Black Jack Dave, Rode off with Black Jack Davey."

"Well, saddle for me my coal black stud, He’s speedier than the gray.

I rode all day and I’ll ride all night, And I’ll overtake my lady.

I’ll bring back my lady."

Well, he rode all night till the broad daylight, Till he came to a river ragin’, And there he spied his darlin’ bride In the arms of Black Jack Davey.

Wrapped up with Black Jack Davey.

"Pull off, pull off them long blue gloves All made of the finest leather.

Give to me your lily-white hand And we’ll both go home together.

We’ll both go home together."

Well, she pulled off them long blue gloves All made of the finest leather.

Gave to him her lily-white hand And said good-bye forever.

Bid farewell forever.

"Would you forsake your house and home, Would you forsake your baby?

Would you forsake your husband, too, To go with Black Jack Davey.

Ride off with Black Jack Davey?"

"Well, I’ll forsake my house and home,

896

black jack davey

And I’ll forsake my baby.

I’ll forsake my husband, too, For the love of Black Jack Davey.

Ride off with Black Jack Davey."

"Last night I slept in a feather bed Between my husband and baby.

Tonight I lay on the river banks In the arms of Black Jack Davey, Love my Black Jack Davey."

Live version, 1993 Add some melody in the bass if you like: |---strum Dm-----|----------------|-------0-2------- etc. |-0-0-3-----3-0--|----------------|----------------Dm Black Jack Davey come a-riden’ on back, Am A-whistlin’ loud and merry.

Dm Made the woods around him ring, C G And he charmed the heart of a lady, Dm Charmed the heart of a lady.

897

Good As I Been To You

Canadee-i-o Trad./arr. Bob Dylan (possibly (but not certainly) influenced by Nic Jones’ arr) (here’s a tab of it) Released on Good As I Been To You (1992) Tabbed by Eyolf Østrem Some open/alternate tuning has been suggested for this one, but I doubt that. It sounds very much like a standard guitar, tuned down one whole step (D-G-c-f-a-d’). The playing is sprinkled with hammer-ons and sus4-chords, in such a free way that it would be sacrilegious to encarcerate it in a fixed version (meaning I don’t have the time or the energy to tab it out. . . ). It’s been claimed that Dylan stole his arrangement from the English folk singer Nic Jones. A comparison between the two versions tells me that Dylan can sleep safely–they don’t sound that similar. See the footnote and see for yourselves.

[Intro: first two lines of the verse] C G C F Well, it’s all of fair and handsome girl, C G C She’s all in her tender years.

C G C F She fell in love with a sailor boy, C G It’s true she loved him well.

F C For to go off to sea with him G Like she did not know how, C G C F She longed to see that seaport town C F C Of Canadee-i-o.

So she bargained with the sailor boy, All for a piece of gold.

Straightaway then he led her Down into the hold, Sayin’, "I’ll dress you up in sailor’s clothes, Your jacket shall be blue.

You’ll see that seaport town Of Canadee-i-o.

Now, when the other sailors heard the news, Well, they fell into a rage, And with all the ship’s company They were willing to engage.

Saying, "We’ll tie her hands and feet, my boys, Overboard we’ll throw her.

She’ll never see that seaport town Called Canadee-i-o.

Now, when the captain he heard the news, Well, he too fell in a rage, And with the whole ship’s company He was willing to engage, Sayin’, "She’ll stay in sailor’s clothes,

898

canadee-i-o

Her color shall be blue, She’ll see that seaport town Call Canadee-i-o.

Now, when they come down to Canada Scarcely ’bout half a year, She’s married this bold captain Who called her his dear.

She’s dressed in silks and satins now, She cuts a gallant show, Finest of the ladies Down Canadee-i-o.

Come, all you fair and tender girls, Wheresoever you may be, I’d have you to follow your own true love Whene’er he goes to sea.

For if the sailors prove false to you, Well, the captain, he might prove true.

You’ll see the honor I have gained By the wearing of the blue.

899

Good As I Been To You

Sittin’ on Top of the World Trad.

Released by Bob Dylan on Good As I Been To You (1992) Tabbed by Eyolf Østrem It seems that the B is played with an open E string: x24400, but the full B chord x24442 is fine too; you don’t really need those high strings anyway, since mostly the song is played only on the bass strings.

The E4 chord (E on the fourth fret) = xxx454. Could be played on the seventh fret as well (079990) Standard blues accompaniment: : . . . |-------------------------|-------------------------|-------------------------|-------------------------|-2---2-4---4-2---2-4---4-|-0---0-0---0-0---0-0---0-E Was in the summer, One early fall, A Just tryin’ to find my E Little all and all E4 Now she’s gone, B An’ I don’t worry.

A E Lord, I’m sittin’ on top of the world. : . . . . . . : . |------------------------------------------------0---0---0---|------------------------------------------------0-0---0-0---|-------------------1----------------------------1-------1---|-------------------h2--2-2--h2-h2-0---------2---------------|-2---2-4---4-2---2------------------2-0---------------------|-0---0-0---0-0---0----------------------4-0-----------------[this is the model also for the remaining interludes] Was in the spring, One summer’s day.

Just when she left me, She gone to stay.

Now she’s gone.

An’ I don’t worry.

Lord, I’m sittin’ on top of the world.

900

sittin’ on top of the world

: . . . . . . : . |--------------------------------------------------------|--------------------------------------------------------|--------------------------------------------------------|-------------h2-2-2-h2-2-2-h2-0----------2--------------|-2---2-4---4--------------------2-0---------------------|-0---0-0---0------------------------4-0-----------------Now don’t come runnin’ Holdin’ up your hand.

Can get me a woman Quick as you can get a man.

Now she’s gone.

An’ I don’t worry.

Lord, I’m sittin’ on top of the world.

Happen for days, Didn’t know your name.

Oh, why should I worry Or crave you in vain?

Now she’s gone.

An’ I don’t worry.

Lord, I’m sittin’ on top of the world.

Went to the station, Down in the yard, Gonna get me a freight train, Work’s done got hard.

Now she’s gone.

An’ I don’t worry.

Lord, I’m sittin’ on top of the world.

The lonesome days, They have gone by, Why should I beg you?

You said good-bye.

Now she’s gone.

An’ I don’t worry.

Lord, I’m sittin’ on top of the world. : . . . : . . |-0----------4---3-------2-------------2--|-0------3---3-2-2-2-1-1-1-------------0--|-1------4---4-3---3-2-2---1-----------2--|-2------------------------2---2-------1--|-2------------------------2---2-0-1-2-2--|-0----------------------------------------

901

Good As I Been To You

Little Maggie Trad., arr. Bob Dylan Released on Good As I Been To You (1992) Tabbed by Eyolf Østrem Capo 2nd fret (sounding key B minor) Repeat the following figure for all the lines. Harmonically the “thing” in the third bar is some kind of D and some kind of C. Am2 G E7 : . , . , . , . : . , . , . , . |---------------------------------|-------------------------------|-0---0-0-0-0-0-0-0-0-0-0-0-0-0-0-|-0---------0-------------------|-0h2-2-2-2-2-0h2-2-2-2-2-0h2-2-2-|-0---------1-------------------|-0h2-2-2-2-2-0h2-2-2-2-2-0h2-2-2-|-0---------0-------------------|-0-----------0-----------0-------|-2---------2-------------------|---------------------------------|-3---------0-------------------Am2 "D" "C" Am2 : . , . , . , . : . , . , . , . |---------------------------------|--------------------------------|-0---0-0-0-0-0-------------------|-0------------------------------|-0h2-2-2-2-2-2--/7-5-------------|-2------------------------------|-0h2-2-2-2-2-2--/7-5-------------|-2------------------------------|-0-------------------------------|-0------------------------------|---------------------------------|--------------------------------Oh, where is little Maggie Over yonder she stands, Rifle on her shoulder, Six-shooter in her hand.

How can I ever stand it, Just to see them two blue eyes, Shinin’ like some diamonds, Like some diamonds in the sky.

Rather be in some lonely hollow Where the sun don’t ever shine, Than to see you be another man’s darling, And to know that you’ll never be mine.

Well, it’s march me away to the station With my suitcase in my hand, Yes, march me away to the station, I’m off to some far-distant land.

Sometimes I have a nickel, And sometimes I have a dime, Sometimes I have ten dollars, Just to pay for little Maggie’s wine.

Pretty flowers are made for blooming, Pretty stars are made to shine, Pretty girls are made for boy’s love,

902

little maggie

Little Maggie was made for mine.

Well, yonder stands little Maggie With a dram glass in her hand, Sheâ&#x20AC;&#x2122;s a drinkinâ&#x20AC;&#x2122; down her troubles Over courtinâ&#x20AC;&#x2122; some other man.

903

Good As I Been To You

Hard Times Words and music Stephen C. Foster Released on Good As I Been To You (1992) Tabbed by Eyolf Østrem All the Cs are abundantly sprinkled with Csus4’s (x33010).

C3 B

xxx553 xxx442

Intro (only the fundamentals have been noted; fill in the rest with strumming): C F C : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-----------------| |---------1-------|-1-------5-3-----|---------5-------|-1---------------| |---------0-------|-0-----------5---|-5-------5-------|-2---------------| |---------2-------|-2---------------|-5-------5---0---|-3---------------| |-3---------------|-----------------|-3-------3-------|-3-------------3-| |-----------------|-----------------|-----------------|-1---------------| : . . . : . . . |-----------------|-----------------| |-1---------------|-----------------| |-0---------------|-----------------| |-2---------------|-----------------| |-----------------|-----------------| |-----------------|-----------------| Let us....

C F C Let us pause in life’s pleasures and count its many tears F C-Csus4 G C Csus4 C While we all sup sorrow with the poor.

C F C There’s a song that will linger forever in our ears, F C G C Oh, hard times, come again no more.

C C3 B C3 F C ’Tis the song, the sigh of the weary.

C D G Hard times, hard times, come again no more.

C F C Many days you have lingered all around my cabin door.

F C G C Oh, hard times, come again no more.

C G C . : . . . : . . . .

-----|-----------------|------------------------|-----------------|---------------------0-0|----------0------|----------------------0-|-2---2--02-----0-|-0---3-0------------3---|-----------------|---------3--------------|-----------------|--------------------

904

hard times

While we seek mirth and beauty and music light and gay.

There are frail forms fainting at the door.

Though their voices are silent, their pleading looks will say.

Oh, hard times, come again no more. ’Tis the song, the sigh of the weary.

Hard times, hard times, come again no more.

Many days you have lingered all around my cabin door.

Oh, hard times, come again no more.

There’s pale drooping maiden who toils her life away With a worn out heart, whose better days are o’er.

Though her voice it would be merry, ’tis sighing all the day, Oh, hard times, come again no more. ’Tis the song, the sigh of the weary.

Hard times, hard times, come again no more.

Many days you have lingered all around my cabin door.

Oh, hard times, come again no more. ’Tis the song, the sigh of the weary.

Hard times, hard times, come again no more.

Many days you have lingered all around my cabin door.

Oh, hard times, come again no more.

905

Good As I Been To You

Step It Up And Go Trad.

Released on Good As I Been To You (1992) Tabbed by Eyolf Østrem Guitar tuned down one whole tone (sounding key thus F major) The tab of the intro is at the same time the basic outline of the strumming for the verses. It is less complicated than it looks: the boogie woogie bass for the G, the little lick in bar three for the C (which comes a little late in the intro), and the turn to D at the end, which is not played in the intro, but in the verses.

The tab only notes the melodic bass notes that depart from the fundamental chord; the upstrokes generally strum the higher strings.

G : . . . : . . . |-------------------------|-------------------------| |-------------------------|-------------------------| |-------------------------|-------------------------| |----------0--2--3--2--0--|----------0--2--3--2--0--| |-------2-----------------|-------2-----------------| |---33-------------------3|---33--------------------| C : . , , . . : . . . |---------------6--35--3-----|-------------------------| |---------------5------------|-------------------------| |----------------------------|-------------------------| |---22--0--------------------|----2--3--2-------------3| |---33-----------------------|---------------01--------| |----------3----------------3|-3-----------3-----3-----| (D) (C) G C/g G : . . . : . . . |-------------------------|----3--3-33----------------| |-------3-0---------------|-0--0--1-10----------------| |-------3-0---------------|-0--0--0-00----------------| |----2--0----3---2--------|-0--0--2-20----------------| |-------------------0-12--|-2--2-----2----------------| |------------------------3|-3--3--3--3----------------| G Got a little girl, little and low, She used to love me but she don’t no more.

C *) G She gotta step it up and go Yeah, go.

D C G Can’t stand pat, swear you gotta step it up and go.

Got a little girl, she stays upstairs, Make a livin’ by puttin’ on airs.

Gotta step it up and go-Yeah, man.

Can’t stand pat, swear you gotta step it up and go.

906

*) the little figure in m. 3 of the tab

step it up and go

Front door shut, back door too, Blinds pulled down, what’ cha gonna do?

Gotta step it up and go-Yeah, go.

Can’t stand pat, swear you gotta step it up and go.

Got a little girl, her name is Ball, Give a little bit, she took it all.

I said step it up and go-Yeah, man.

Can’t stand pat, swear you gotta step it up and go.

Me an’ my baby walkin’ down the street, Tellin’ everybody ’bout the chief of police.

Gotta step it up and go-Yeah, go.

Can’t stand pat, swear you gotta step it up and go.

Tell my woman I’ll see her at home, Ain’t no lovin’ since she been gone.

Gotta step it up and go-Yeah, go.

Can’t stand pat, swear you gotta step it up and go.

Well, I’ll sing this verse, ain’t gonna sing no more, Hear my gal call me and I got to go.

Step it up and go-Yeah, man.

Can’t stand pat, swear you gotta step it up and go.

907

Good As I Been To You

Tomorrow Night (Sam Coslow/Will Grosz) Played by Bob Dylan on Good As I Been To You (1992) Tabbed by Eyolf Ă&#x2DC;strem Capo 1st fret (original key F major) (One verse intro) E

A E Tomorrow night

E7

A will you remember what you said tonight Am B7 E Tomorrow night will all the thrill be gone E E7 Tomorrow night A will it be just another memory Am Or just another song B7 E thatâ&#x20AC;&#x2122;s in my heart to linger on

Fdim F#m

B E Your lips are so tender, B E your heart is beating fast G#m And you willingly surrender C#m B A B7 to me, but darling will it last Tomorrow will you Tomorrow will you

night be with me when the moon is bright night say those lovely things you said tonight

Your lips are so tender, your heart is beating fast And you willingly surrender to me, but darling will it last

908

B7

arthur mcbride

Arthur McBride arr. Bob Dylan Released on Good As I Been To You (1992) Tabbed by Eyolf Østrem This may come as a surprise to some of you, but this song is in standard tuning, capo 2nd fret,chords in the G family, and not in open G tuning. The hammer-ons simply wouldn’t be possible in open G, and the high, continually sounding tone suggests the common G chord 3rd fret pinky on the 1st string.

See http://www.paulbrady.com/tablature/am.asp for Paul Brady’s version in open G, which is probably where Dylan learned it (thanks to Trev for notifying me and for finding the link).

C/e = xx2013 The verses are played more or less as the intro. The introductory ascent is played like this in most of the verses: : . . : . . |-3-----------------------3--|-0-----------------------0--|-0-----------------------0--|-0-----------0---2---4---0--- etc |-2-----------2---3---5---2--|-3-----------3-----------3---

(or 355433)

Intro: G : . . : . . : . . : . . |-3-----3-3---3----------|---------3---3-----------| |-3-----3-3---3---5---7--|-8-------0---0-----------| |-4-----4-4---4---5---7--|-7-------0---0-----------| |-5----------------------|-9-------0---0-----------| |------------------------|---------2---2-----------| |------------------------|---------3---3-----------| C G C/g : . . : . . : . . : . . |-3-------3---3----------|-------------3-----------| |-1-------1---0---keep strumming-------1-----------| |-0-------0---0----------|-------------0-------0---| |-2-------2---0----------|-------------2-------0---| |-3-------3---2---0h2----|-0h2-----0---x------(0)--| |-------------3----------|-------------3-----------| G : . . : . . : . . : . . |-3----------------------|-------------------------| |-0----------------------|-------------------------| |-0----------------------|-------------------------| |-0----------------------|-------------0-----------| |-2-------0---2p0--------|-0h2-----3---------------| |-3---------------3------|-------------------------|

909

Good As I Been To You

: . . : . . : . . : . . |------------------------|-------------3--|------------------------|-------------0--|---------0-----0---0----|-------------0--- two measures |-0---2------------------|-------------0--- of G strumming |-------------2---3---2--|-0---2---0---2--|------------------------|-------------3--G C/e G Oh, me and my cousin, one Arthur McBride, C/e G C * * hammer-on 0-2 on As we went a-walkin’ down by the seaside, the 4th string G C/g G C/g G Now mark what followed and what did betide C/e G D For it bein’ on Christmas mornin’ G ** G ** ascent on the Now, for recreation, we went on a tramp, low strings C G C And we met Sergeant Napper and Corporal Vamp G C/g G And a little wee drummer intending to camp, D G For the day bein’ pleasant and charmin’.

"Good morning, good morning," the Sergeant he cried.

"And the same to you, gentlemen," we did reply, Intending no harm but meant to pass by, For it bein’ on Christmas mornin’ "But," says he, "My fine fellows, if you will enlist, Ten guineas in gold I’ll stick to your fist, And a crown in the bargain for to kick up the dust, And drink the king’s health in the morning.

"For a soldier, he leads a very fine life, And he always is blessed with a charming young wife, And he pays all his debts without sorrow or strife, And he always lives pleasant and charmin’, And a soldier, he always is decent and clean, In the finest of clothing he’s constantly seen.

While other poor fellows go dirty and mean, And sup on thin gruel in the morning."

Instrumental "But," says Arthur, "I wouldn’t be proud of your clothes, For you’ve only the lend of them, as I suppose, And you dare not change them one night, for you know If you do, you’ll be flogged in the morning, And although that we’re single and free, We take great delight in our own company, We have no desire strange places to see, Although that your offers are charming.

"And we have no desire to take your advance, All hazards and dangers we barter on chance, For you’d have no scruples for to send us to France,

910

arthur mcbride

G D G Where we would get shot without warning."

"Oh no," says the Sergeant. "I’ll have no such chat, And neither will I take it from snappy young brats, For if you insult me with one other word, I’ll cut off your heads in the morning."

And Arthur and I, we soon drew our hogs, And we scarce gave them time to draw their own blades When a trusty shillelagh came over their head And bid them take that as fair warning.

And their old rusty rapiers that hung by their sides, We flung them as far as we could in the tide, "Now take them up, devils!" cried Arthur McBride, "And temper their edge in the mornin’!"

And the little wee drummer, we flattened his bow, And we made a football of his rowdy-dow-dow, Threw it in the tide for to rock and to roll, G D And bade it a tedious returning And we havin’ no money, paid them off in cracks.

We paid no respect to their two bloody backs, And we lathered them there like a pair of wet sacks, And left them for dead in the morning.

And so, to conclude and to finish disputes, We obligingly asked if they wanted recruits, For we were the lads who would give them hard clouts And bid them look sharp in the mornin’.

Instrumental Oh, me and my cousin, one Arthur McBride, As we went a-walkin’ down by the seaside, Mark now what followed and what did betide, For it bein’ on Christmas mornin’ G C/e Dadd4add9/f# C/e : . . : . . : . . : . . |-----3---3---|-3---3---3---|-0---0---0---|-0---0---0---| |-----0---0---|-1---1---1---|-1/3-3---3---|-1---1---1---| |-----0---0---|-0---0---0---|-0---0---0---|-0---0---0---| |-----0---0---|-2---2---2---|-2/4-4---4---|-0h2-2---2---| |-2-----------|-------------|-------------|-------------| |-3-----------|-------------|-------------|-------------| -nin’________________________________________________ G C/e G : . . : . . : . . : . . |-3---3---3---|-3---3-3-3-3-|-3-------3---|-3----------|-0---0---0---|-1---1-1-1-1-|-0-------0---|-0----------|-0---0---0---|-0---0-0-0-0-|-0-------0---|-0----------|-0-------0---|-0h2-----2---|-0-------0---|-0----------|-------------|-------------|-----2-------|-2----------|-------------|-------------|-----3-------|-3-----------

911

Good As I Been To You

You’re Gonna Quit Me, Baby Trad.

Released by Bob Dylan on Good As I Been To You (1992) Tabbed by Eyolf Østrem C F C F C C7 F F C7 : . . . : . . . : . . . : . . .

---|-----------------|-----------------|-1--------------|-0-----------------|---------1-------|-1-----1---------|-1--------------|-1-------1-------0-|-0---2---0---2---|-0-----3---------|-2--------------|-0---------3-----2-|-2---3---2---3---|-2-----2---------|-3--------------|-2---------------3-|-3---3-------3---|-3-----3---------|-3--------------|-3-----------------|-----------------|-----------------|-1--------------|----------------F D7/f# C/g A D7 G7 C : . . . : . . . : . . . : . . . |-1-------2-------|-0---------------|-2---------------|-0--------------|-1-------1-------|-1-----2---------|-1-------0-------|-1--------------|-2-------2-------|-0-----2---------|-2-------0-------|-0--------------|-3-------0-------|-2-----2---------|-0-------3-------|-2--------------|-3-------0-------|-3-----0---------|-0-------2-------|-3--------------|-1-------2-------|-3-3/5-----------|---------3-------|----------------C You’re gonna quit F Good as I been to F D/f# Good as I been to D7 G7 Good as I been to

C7 me, baby, C you, Lawd, Lawd.

C A you, Lawd, Lawd.

C you.

Give you my money, honey, Buy you shoes and clothes, Lawd, Lawd.

You’re gonna quit me, baby, Put me outta doors, Lawd, Lawd. [interlude, more or less like the intro] Six months on the chain gang, Believe me, it ain’t no fun, Lawd, Lawd.

Day you quit me, baby, That’s the day you die, Lawd, Lawd.

Jailhouse ain’t no plaything, Believe me, ain’t no lie, Lawd, Lawd.

Day you quit me, baby, That’s the day you die, Lawd, Lawd. [one verse instrumental, then:]

912

youâ&#x20AC;&#x2122;re gonna quit me, baby

C "D7-9" G7 C : . . . : ---|-------------------------|-----------0------------|| ---|-1-----5-----4-----3-----|-1---1-----1------------|| ---|-----0-----0-----0-------|(0)----0---0------------|| ---|----/5-----4-----3-----2-|(2)--------2------------|| -3-|-------------------------|(3)---------------------|| ---|-------------------------|------------------------||

913

Good As I Been To You

Diamond Joe Trad.

Released on Good As I Been To You (1992) Tabbed by Eyolf Østrem Capo 4th fret (sounding key B major) The figure in the second tab below (G-/f]-C or -Em) is used for that descent at all other places, except at “He nearly drove me crazy”, where the descent is on the 6th string.

G Em C : . . . : . . . : . . . : . . .

---|-----------------|-----0-0---------|-----------------|-----------------| ---|-----0-0---------|-----0-0-----0---|-----0-------0-0-|-----1--(1)1-1-1-| ---|-----0-0---------|-----0-0-----0---|-0---0-------0-0-|-----0--(0)0-0-0-| ---|-----0-0-----0---|-0h2-----2-------|(2)--2-------0-0-|-----2--(2)2-2-2-| -0-|---------0h2-----|-----------------|(2)------0h2-----|-3---------------| ---|-0h3-------------|-----------------|-----------------|-----------------| G : . . . : . . . |-----------------|-----------------|----|-----0-----0-0---|-----0-----0-0-0-|----|-----0-----0-0---|-----0-----0-0-0-|----|-----0-----0-0---|-----0-----0-----|----|-----2-----2-2---|-----2-----------|----|-3---------------|-3---------------|----Now . . .

G Em Now there’s a man you’ll hear about C G C/g G Most anywhere you go, G Em And his holdings are in Texas C G And his name is Diamond Joe. G Em And he carries all his money C G In a diamond-studded jar.

G Em He never took much trouble C G With the process of the law.

G /f# C : . . . : . . . : . . . : . . . |-----------------|-----------------|-----------------|-------------------| |(3)-----(3)------|-(1)-------------|-1-1-1-----------|-------------------| |-----------------|-----------------|-0-0-0-----------|---------------0-0-| |/5---5---0h4-4---|-0h2-2-----------|-2-2-2-------0h2-|-2---0---------0-0-| |-----------------|---------0h2-3---|---------3-------|---------0h2-------| |-----------------|-----------------|-----------------|-------------------|

914

diamond joe

G : . . . : . . . |-----------------|-----------------| |-----0-----0-0---|---------0-1-1-0-| |-----0-----0-0---|---------0-0-0-0-| |-----0-----0-0---|---------0-2-2-0-| |-----------------|---------2-------| |-3---------------|-3-------3-------| I . . .

G Em I hired out to Diamond Joe, boys, C G C/g G Did offer him my hand, G Em He gave a string of horses C G So old they could not stand.

G /f# C G And I nearly starved to death, boys, C G C/g G He did mistreat me so, G /f# Em C And I never saved a dollar G In the pay of Diamond Joe. G Em Now his bread it was corn dodger C G And his meat you couldn’t chaw, G /f# Em Nearly drove me crazy C G With the waggin’ of his jaw.

G /f# C G And the tellin’ of his story, C G C/g G Mean to let you know G /f# Em That there never was a rounder C G That could lie like Diamond Joe.

/b

G Em Now, I tried three times to quit him, C G But he did argue so G /f# C G I’m still punchin’ cattle C G In the pay of Diamond Joe. G /f# C G And when I’m called up yonder C G And it’s my time to go,

915

Good As I Been To You

G Em Give my blankets to my buddies C G Give the fleas to Diamond Joe.

916

froggie went a-courtin’

Froggie Went A-Courtin’ Trad.

Released on Good As I Been To You (1992) Tabbed by Eyolf Østrem G7 32300x

Intro: C F C : . . . : . . . : . . . |---0----------3--|-3----3--3----1--|-0-------------|---1-------------|-1-------1-------|-1-------------|---0--etc--------|-0-------2-------|-0-------------- etc |-----------------|-2-------3-------|-2-------------|-3---------------|-3-------0-------|-3-------------|-----------------|---------1-------|---------------C Csus4 C Frog went a-courtin’, and he did ride, Uh-huh, G Frog went a-courtin’, and he did ride, Uh-huh, C Frog went a-courtin’, and he did ride.

F C With a sword and a pistol by his side, Uh-huh.

Well Well Well Gave

he rode up he rode up he rode up three loud

G7

C

to Miss Mousey’s door, Uh-huh, to Miss Mousey’s door, Uh-huh, to Miss Mousey’s door. raps and a very big roar, Uh-huh.

Said, "Miss Mouse, are you within?" Uh-huh, Said he, "Miss Mouse, are you within?" Uh-huh, Said, "Miss Mouse, are you within?"

"Yes, kind sir, I sit and spin," Uh-huh.

He took Miss Mousey Took Miss Mousey on Took Miss Mousey on Said, "Miss Mousey,

on his knee, Uh-huh, his knee, Uh-huh, his knee. will you marry me?" Uh-huh.

"Without my uncle Rat’s consent, Uh-huh "Without my uncle Rat’s consent, Uh-huh "Without my uncle Rat’s consent.

I wouldn’t marry the president, Uh-huh Uncle Rat laughed and he Uncle Rat laughed and he Uncle Rat laughed and he To think his niece would

shook his fat sides, Uh-huh, shook his fat sides, Uh-huh, shook his fat sides,. be a bride, Uh-huh.

Uncle Rat went runnin’ downtown, Uh-huh, Uncle Rat went runnin’ downtown, Uh-huh,

917

Good As I Been To You

Uncle Rat went runnin’ downtown.

To buy his niece a wedding gown, Uh-huh Where shall the Where shall the Where shall the Way down yonder

wedding supper be? Uh-huh, wedding supper be? Uh-huh, wedding supper be? in a hollow tree, Uh-huh

What should the wedding supper be? Uh-huh, What should the wedding supper be? Uh-huh, What should the wedding supper be?

Fried mosquito in a black-eye pea, Uh-huh.

Well, first to come in First to come in was a First to come in was a She laid out the table

was a flyin’ moth, Uh-huh, flyin’ moth, Uh-huh, flyin’ moth. cloth, Uh-huh.

Next to come in Next to come in Next to come in She brought the

was a was a was a water

Next to come Next to come Next to come Sat mosquito

in in in on

was was was his

Next to come Next to come Next to come Danced a jig

in was a in was a in was a with the

Next to come Next to come Next to come She tried to

in was Mrs. Cow, Uh-huh, in was Mrs. Cow, Uh-huh, in was Mrs. Cow. dance but she didn’t know how, Uh-huh.

Next to Next to Next to She ate

come in come in come in so much

was was was she

juney bug, Uh-huh, juney bug, Uh-huh, juney bug. jug, Uh-huh.

a bumbley bee, Uh-huh a bumbley bee, Uh-huh a bumbley bee. knee, Uh-huh. broken black broken black broken black bumbley bee,

flea, Uh-huh, flea, Uh-huh, flea.

Uh-huh.

a little black tick, Uh-huh, a little black tick, Uh-huh, a little black tick. made us sick, Uh-huh.

Next to come in was a big Next to come in was a big Next to come in was a big Ate up all of the wedding

black black black cake,

snake, Uh-huh, snake, Uh-huh, snake.

Uh-huh.

Next to come was the old gray cat, Uh-huh, Next to come was the old gray cat, Uh-huh, Next to come was the old gray cat.

Swallowed the mouse and ate up the rat, Uh-huh.

Mr. Frog went a-hoppin’ up Mr. Frog went a-hoppin’ up Mr. Frog went a-hoppin’ up A lily-white duck come and

918

over the brook, Uh-huh, over the brook, Uh-huh, over the brook. swallowed him up, Uh-huh.

A little piece of cornbread layin’ on a shelf, Uh-huh, A little piece of cornbread layin’ on a shelf, Uh-huh, A little piece of cornbread layin’ on a shelf.

If you want anymore, you can sing it yourself, Uh-huh.

919

35 World Gone Wrong Recorded May 1993 â&#x20AC;&#x201D; Released October 26, 1993

922 924 926 928 931 934 936 938 940 942

World Gone Wrong Love Henry Ragged & Dirty Blood in My Eyes Broke Down Engine Delia Stack A Lee Two Soldiers Jack-A-Roe Lone Pilgrim

World Gone Wrong

World Gone Wrong Trad., arranged by Bob Dylan Released on World Gone Wrong (1993) Tabbed by Eyolf Østrem Capo 2nd fret (Original key D major) Chords: C Csus4 C+ Cmaj7

x32010 x33010 x32110 xx5500 (that’s what he seems to be playing anyway.

Otherwise it is usually played x32000)

The last line in every verse is given special treatment every time. Sometimes he plays C F G C using only the strings 2, 3 and 4. Other times he goes straight to an F after the Cmaj7. It’s all mainly a flourish anyway, so. . . And the riff that follows is just as variable. This is basically what he plays: Riff 1: C G C | . . . | . . |-0-1-3---1---0----------------|-1-(0)-----------1---0---1----|-0-------------------0---0----|-2-------------------0---2----|-3-----------------------3----|-------------------------------

C

| C

|

Csus4 C Csus4 C Strange things have happened like never before My baby told me I would have to go C+ F * F I can’t be good no more, once like I did before G I can’t be good, baby Cmaj7 C F G C Honey, because the world gone wrong.

[Riff 1] Feel bad this morning, ain’t got no home No use in worrying cause the world gone wrong I can’t be good no more, once, like I did before I can’t be good baby Honey, because the world gone wrong.

I told you baby, right to your head If I didn’t leave you, I would have to kill you dead I can’t be good no more, once, like I did before

922

world gone wrong

I can’t be good baby Honey, cause the world gone wrong.

I tried to be lovin’, and treat you kind But it seem like you never right, you got no loyal mind I can’t be good no more, once, like I did before I can’t be good baby Honey, cause the world’s gone wrong.

If you had a woman and she don’t treat you kind Praise the Good Lord to get her out of your mind I can’t be good no more, once, like I did before I can’t be good baby Honey, because the world gone wrong.

Said, when you been good now, can’t do no more Just tell her kindly, pThere is the front doorp I can’t be good no more, once, like I did before I can’t be good baby Honey, because the world’s gone wrong.

Pack up my suitcase, give me my hat No use to ask me baby, cause I’ll never be back I can’t be good no more, once, like I did before I can’t be good baby.

Honey, because the world gone wrong.

923

World Gone Wrong

Love Henry Traditional, arranged by Bob Dylan Released on World Gone Wrong (1993) Tabbed by Eyolf Østrem Capo 6th fret (original key F] major) Chords: C Csus4 Csus2

x32010 x33010 x30010

These are sparkled throughout the long C parts.

Riff for the last line of each verse: C C G F C/e G/d C | . . . | . . . | . +(0)--------------------------------+(1)----------5---3---1---1---0---1-+(0)----------5---4---2---0---0---0-+(2)---------(5)-(5)-(3)--2---0---2-+(3)------------------------------3-+-----------------------------------I’ll apply them all to thee

The final G/d could also be a G7/f: xx300x, as e.g. in the last verse.

C F "Get down, get down Love Henry," she G "And stay all night with me C F I have gold chains, and the finest I C G F C/e G/d C I’ll apply them all to thee."

C cried C have

"I can’t get down and I shan’t get down Or stay all night with thee Some pretty little girl in Cornersville I love far better than thee."

He layed his head on a pillow of down Kisses she gave him three With a penny knife that she held in her hand She murdered mortal he.

"Get well, get well Love Henry," she cried "Get well, get well," said she "Oh don’t you see my own heart’s blood Come flowin’ down so free ?"

She took him by his long yellow hair And also by his feet

924

love henry

She plunged him into well water, where It runs both cold and deep.

"Lie there, lie there, Love Henry," she cried "’Til the flesh rots off your bones Some pretty little girl in Cornersville Will mourn for your return."

"Hush up, hush up, my parrot," she cried "Don’t tell no news on me Or these costly beads around my neck I’ll apply them all to thee."

"Fly down, fly down pretty bird," she cried "And light on my right knee The doors to your cage shall be decked with gold And hung on a willow tree."

"I won’t fly down, I can’t fly down And light on your right knee A girl who would murder her own true love Would kill a little bird like me."

925

World Gone Wrong

Ragged & Dirty Written by Yank Rachell and Sleepy John Estes arranged by Bob Dylan and played on World Gone Wrong (1993) Tabbed by Eyolf Østrem Capo 4th fret (original key E major) The trick is to get the riff that runs through the whole song right. This riff appears everywhere where there’s a G, and it’s always played twice in a row. The adjacent open strings should be sounding, especially at the end of the riff, where you get the delicious clash between the B[ of the third string and the B of the open second string. The : and | indicate the beats. Most of the melody notes come a little before the beat, and should be played on the upstrokes. Throughout all of this, you keep strumming, but lightly, mainly to indicate the basic rhythm.

For the initial slide up ( / = slide up), you already have the index finger in place from the C chord.

Use that. u=up, d=down C G ududuuud :.. |..: ..:..:..|..: . . | |-----------------------------------------------------------|------1/3---6-------3---6----------------------------------|------------------------------3-----3-0--------------------|-----------------------------------------------------------|-----------------------------------------------------------|------------------------------------------------------------

G (|: Riff 1 :|) C

G (|: Riff 1 :|)

C G Lord I’m broke, I’m hungry, ragged and dirty too C G Broke and hungry, ragged and dirty too D C G If I clean up sweet mama, can I stay all night with you. |: Riff 1 :| Lord, I went to my window, babe, I couldn’t see through my blinds Went to my window, babe I couldn’t see through my blinds Heard my best friend coming around I thought I heard my baby cry.

Lord, if I can’t come in here, baby then just let me sit down in your door If I can’t come in here baby then just let me sit down in your door And I would leave so soon that your man won’t never know.

How can I live here baby, Lord, and feel at ease?

How can I live here baby, Lord, and feel at ease?

Well, that woman I got, man, she do just what she feels.

Lord you shouldn’t mistreat me, baby, because I’m young and wild Shouldn’t mistreat me, baby, because I’m young and wild You must always remember, baby, you was once a child.

926

ragged & dirty

’Cause I’m leaving in the morning, if I have to ride the blind Leaving in the morning, if I have to ride the blinds Well, I’ve been mistreated and I swear, I don’t mind dyin’.

G |--3----3-----3-----3-----3--|--0----0-----0-----0-----0--|--0----0-----0-----0-----0--|--3----2-----1-----0-----3--|----------------------------|-----------------------------

927

World Gone Wrong

Blood in My Eyes (traditional, arranged by Bob Dylan) Released on World Gone Wrong (1993) Tabbed by Eyolf Østrem Capo 2nd fret (Original key D major) The chord I’ve called “G7” (G6sus4add7/C, to be precise) could have been called Csus4maj7, or even some F-chord variant, but I consider it functionally as a dominant, hence a G, even though a G is hardly sounding in the chord. What’s in a name anyway? Sometimes it is replaced by an F. Chords: C Csus4 F "G7"

x32010 x33010 133211 x33000

C Csus4 F "G7" : . . . |-------------1-----0------| |----(1)------1-----0------| |----(0)0-----2-----0------| |-2-----3-----3-----3------| x2 |-3---------3-------3------| |--------------------------| C Csus4 F "G7" Woke up this morning, C Csus4 F "G7" feeling blue, C F "G7" C F C Seen a good-lookin’ girl, can I make love with you?

F G Csus4 C Csus4 F "G7" Hey, hey, babe, I got blood in my eyes for you, F G Csus4 |: C Csus4 F "G7" :| Hey, hey, babe, I got blood in my eyes for you.

G I got blood in my eyes for you, babe, "G7" F C I don’t care what in the world you do.

I went back home, put on my tie, Gonna get that girl that money will buy.

1) Hey, hey, babe, I got blood in my eyes for you, 1) Hey, hey, babe, I got blood in my eyes for you.

I got blood in my eyes for you, babe, I don’t care what in the world you do.

928

blood in my eyes

: . . .

1) |--------------------------| |--------------------------| |-------------2---3-/5-----| |-------------3---5-/7-----| |--------------------------| |--------------------------| babe I got . . .

She looked at me, begin to smile, Said, "Hey, hey, man, can’t you wait a little while?"

No, no, babe, I got blood in my eyes for you.

No, no, babe, I got blood in my eyes for you.

Got blood in my eyes for you, babe, I don’t care what in the world you do. : . . . : . . . : . . . |-------------------------|--|-------------------------|-------1----------------| |-------------------------|--|-------------------------|-------1----------------| |-0---0-------------------|x3|-0---0-0---0-0-----------|-2-----2----------------| |-2---2-3---3-4---4-5---5-|--|-2---2-2---2-2-----------|-3-----3----------------| |-3---3-5---5-6---6-7---7-|--|-3---3-3---3-3-----------|-3----------------------| |-------------------------|--|-----------------3-0-----|-1---------3-4-----5----| : . . . : . . . : . . . |-----1--------------------|-0---0--------------------|-3-----------------------| |-----1--------------------|*1---1(0---0-0---0-0---0)*|-3-----------------------| |-----2--------------------|-0---0(0---0-0---0-0---0)-|-4---------0-0---0-0-----| |-----3--------------------|-2---2-3---3-4---4-5---5--|-5-----------------------| |-3------------------------|*3---3-5---5-6---6-7---7-*|-5---------3-4---4-5-----| |-1-----3---3-4---4-5------|--------------------------|-3---------5-6---6-7---0-| : . . . |-----1-----1-------1-----|-0---0--------------------| |-----1-----1-------1-----|*1---1(0---0-0---0-0---0)*| |-----2-----2-------2-----|-0---0(0---0-0---0-0---0)-| |-3-----3-----------3-----|-2---2-3---3-4---4-5---5--| |-3-----3-----3-----------|*3---3-5---5-6---6-7---7-*| |-1-----1-----1-----------|--------------------------| No, no, ma’am, I can’t wait, You got my money, now you’re trying to break this date.

Hey, hey, babe, I got blood in my eyes for you, Hey, hey, babe, I got blood in my eyes for you.

I got blood in my eyes for you, babe, I don’t care what in the world you do.

I tell you something, tell you the facts, You don’t want me, give my money back.

Hey, hey, babe, I got blood in my eyes for you, Hey, hey, babe, I got blood in my eyes for you.

I got blood in my eyes for you, babe, I don’t care what in the world you do. : . . . |-0--0---------------------|-------0-----0------|| |*1--1-(0--0--0--0--0--0)-*|----1--1-----1------|| |-0--0-(0--0--0--0--0--0)--|----0--------0------|| |-2--2--3--3--4--4--5--5---|-2-----------2------|| |*3--3--5--5--6--6--7--7--*|-3--------3---------|| |--------------------------|--------------------||

929

World Gone Wrong

Supper club version Basically the same as above, but with the intro played: |-------3-----1-----0-----| |-1-----1-----1-----0-----| |-0-----0-----2-----0-----| |-2-----2-----3-----3-----| |-3-----3-----3-----3-----| |-------------------------|

930

broke down engine

Broke Down Engine Written by Blind Willie McTell. In this case I suppose the arrangement credits could actually go to Dylan, since his version sounds nothing like Blind Willie’s (unless Dylan is using someone else’s arrangement).

Released on World Gone Wrong (1993) Tabbed by Eyolf Østrem Dropped D tuning (D-A-d-g-b-e’) Chords: D9 G Bb Dv

xx(0)-14-13-12 (x)55433 (x)88766 xx0775

D-riff: : . . . : . |-2---------------|-2------|-3---------------|-3------|-2-----2-5-2-----|-2------|-0---5-------5-3-|-0------|-----------------|--------|-----------------|---------

The real problem here is, of course, to get the chorus right (un)rhythmically speaking (I added a transcription of the first lordylordoodledumdy at the end). Aside from that, the riffs are definitely playable. The fact that the intro riff ends with a D in fifth position (057775), and the D-riff begins in second position (000232), implies that one has to move from the one to the other somewhere during the first line of singing. I seem to hear such moves here and there (then again, after some hours of tabbing, I seem to hear quite a lot. . . ).

In the first verse, the B[ in the last line comes later than in the rest of the verses (where the A is noted).

Intro: D9 D : . . . : . . . : |-12-12-12-12-12-12-/12-12-|/12-12-12-12-12-12---2-|---2-------------| |-13-13-13-13-13-13-/13-13-|/13-13-13-13-13-13---3-|---3-------------| |-14-14-14-14-14-14-/14-14-|/14-14-14-14-14-14---2-|---2---2-5-2-----| |--------------------------|-------------------0---|-----5--(0)--5-3-| |--------------------------|-----------------------|----(0)----------| |--------------------------|-----------------------|-----------------| : . . . . . : . . . : . . . |-----2-------------------|-----------------|-----------------| |-----3-------------------|---------7-----7-|---7-7---7-------| (switch to |-----2-------------------|---------7-----7-|---7-7---7-------| D=000232) |-0---0--------------(3-4-|-5h7)7---7---7---|---7-7---7-------| |--------------(7)----3-4-|-5---5---5---5---|-----5-----------| |---------5-6---7---------|-----------------|-----------------| Feel like . . .

931

World Gone Wrong

D Feel like a broke down engine ain’t G Feel like a broke down engine ain’t Dv You all been down and lonesome, you

[D-riff] got no drivin’ wheel Bb D [D-riff] got no drivin’ wheel Bb A D [D-riff] know just how a poor man feels.

Been shooting craps and gambling, momma, and I done got broke Been shooting craps and gambling, momma, and I done got broke I done pawned my pistol baby, my best clothes been sold.

D9 Lordy, Lord, D Lordy, Lordy, Lord, /g /g# /a /c /c# /d /g Lordy, Lordy, Lordy [d-riff] Lordy Lord.

D9 D : . . . : . . . : . . . |-12-12-12-12-12-12-12-12-|12-12-12-12-12-12---2-|-----------------| |-13-13-13-13-13-13-13-13-|13-13-13-13-13-13---3-|-----------------| |-14-14-14-14-14-14-14-14-|14-14-14-14-14-14---2-|-----------------| |-------------------------|------------------0---|-----------------| |-------------------------|----------------------|-----------------| |-------------------------|----------------------|-----5---6-7-----| Lor - dy lord lor - dy lor- dy lord lordy lord : . . . : . . . : . . . : . . . |-----------------|-2-2-------------|-----2-2---------|-----------------| |-----------------|-3-3-------------|-----3-3---------|-----------------| |-----------------|-2-2---2-5-2-----|-----2-2---strum-|-----------------| |-----------------|-0-0-5-------5-3-|-0-0-0-0---------|-----------------| |-3---4---5-------|-----------------|-----------------|-----------------| |-------------6---|-----------------|-----------------|-----------------| lor-dy lordy lord_________________.

I went . . .

I went down in my praying ground, fell on my bended knees Went down to my praying ground, fell on my bended knees I ain’t cryin’ for no religion, Lord, give me back my good gal please.

If you give me back my baby, I won’t worry you no more Give me back my baby, I won’t worry you no more Don’t have to put her in my house, Lordy, just lead her to my door.

Lordy, Lord, Lordy, Lordy, Lord, Lordy, Lordy, Lordy Lordy Lord.

Can’t you hear me baby, rappin’ on your door ?

Can’t you hear me baby, rappin’ on your door ?

Now you hear me tappin’, tappin’ across your floor.

932

broke down engine

: . . . : . . . |-----------------|----------------|-----------------|-----------7----|-----------------|-----------7----|-----------------|-----------7----|-----------------|-----3-4-5-5----|-5-------6-------|-7--------------Feel like a broke down engine, ain’t got no drive at all Feel like a broke down engine, ain’t got no drive at all What made me love my woman, she can really do the Georgia Crawl.

D9 [D-riff] Feel like a broke down engine, ain’t got no whistle or bell Feel like a broke down engine, ain’t got no whistle or bell If you’re a real hot momma, come and grab away Daddy’s weeping spell. . : . . . : . . . : . . . : . . .

-----|-----------------|-----------------|-----------------|-----------------| -----|-----------------|-----------------|-----------------|-----------------| -0-2-|-5-5-5-5-2-2---2-|-5-2---2-------2-|-5-5-5-2-5-5-2-5-|-5-2-4-2---------| -----|-------------5---|-----5-------5---|-----------------|-----------------| -----|-----------------|-----------------|-----------------|-----------------| -----|-----------------|-----------------|-----------------|-----------------| : . . . : . . . : . . . . . : . . . |-3---------------|-6---------------|-2-----------------------|-----------------| |-3--strum--------|-6---------------|-3-----------------------|---7-7-7---------| |-4---------------|-7---------------|-2-----------------------|---7-7-7---------| |-5---------------|-8---------------|-0-----------------------|---7-7-7---------| |-----------------|-----------------|-0-------------------3-4-|-5-5-5-5---------| |-----------------|-----------------|-0-----0-5---6---7-------|-----------------| : . . . : . . . : . . . : |-5-----5-----5---|---6-------------|-2---------------|---------8----|| |-5-----5-----5---|---6-------------|-3---------------|---7-7-7-7----|| |-6-6-6-6-6-6-6-6-|-7-7-7-7-7-6-6-6-|-2---------------|---7-7-7-7----|| |-7-7-7-7-7-7-7-7-|-8-8-8-8-8-7-7-7-|-0---------------|---7-7-7-7----|| |-----------------|-----------------|-0-----------3-4-|-5-5----------|| |-----------------|-----------------|-0---5-6-7-------|--------------||

933

World Gone Wrong

Delia Traditional, arranged by Bob Dylan Released on World Gone Wrong (1993) Tabbed by Eyolf Østrem Read John Garst’s story about Delia Green, age 14, shot down on Christmas Eve 1900 by her boyfriend “Cooney” Houston.

Capo 2nd fret (original key D major) Chords: C F9 Cviii Fv Ciii Giii C/g

x32013 xx3213 xxx988 xxx565 xxx553 xxx433 332010

in the intro,otherwise x32010 in the intro, otherwise normal F

It should be mentioned that Dylan isn’t always dead certain about neither how long to strum F before “all the friends I ever had are gone”, nor about now to play the descending riff. But hey, he’s an artist, man, you gotta give him that.

Intro (same accompanying pattern in all the verses): C F9 C F9 C | . . . | . . . | . . . | . . . |-3---------------3---------------3-------3-------3--------------|-1---------------1---------------1-------1-------1--------------|-0---------------2---------------0-------2-------0--------------|-2---------------3---------------2-------3-------2--------------|-3-------------------------------3---------------3--------------|----------------------------------------------------------------Ciii Cviii Fv Giii Giii F | . . . | . . . | . . . | . . . |-----8---5---3---3-3---1----------------------------------------|-----8---6---3---5-3---1----------------------------------------|-----9---5---4---5-4---2----------------------------------------|-----------------------3----------------------------------------|----------------------(3)---------------------------------------|----------------------(1)--------------------------------0---1--C "G7" C Csus4 C | . . . | . . . | . . . | . . . |-0---------------0---0---0---0---0------------------------------|-1---------------1---1---1---1---1------------------------------|-0---------------0---0---0---0---0------------------------------|-2---------------0---3---2---0---2------------------------------|-3---------------x---x---x---x---3------------------------------|-3---------------3---3---3---3---x-------------------------------

934

delia

C F9 C Delia was a gambling girl, gambled Cviii Fv Giii Ciii Giii F Delia was a gambling girl, she C/g "G7" All the friends I ever had are

F9 C all around laid her money down.

C Csus4 C gone.

Delia’s dear ol’ mother took a trip out West When she returned, little Delia’d gone to rest.

All the friends I ever had are gone.

Delia’s Daddy weeped, Delia’s momma moaned Wouldn’t have been so bad if the poor girl died at home.

All the friends I ever had are gone.

Curtis’s looking high, Curtis’s looking low He shot poor Delia down with a cruel forty-four.

All the friends I ever had are gone.

High upon the housetops, high as I can see Looking for them rounders, looking out for me.

All the friends I ever had are gone Men in Atlanta, trying to pass for white Delia’s in the graveyard, boys, six feet out of sight.

All the friends I ever had are gone.

Judge says to Curtis, "What’s this noise about?"

"All about them rounders, Judge, tryin’ to cut me out."

All the friends I ever had are gone.

Curtis said to the judge "What might be my fine?"

Judge says, "Poor boy, you got ninety-nine."

All the friends I ever had are gone.

Curtis’ in the jailhouse, drinking from an old tin cup Delia’s in the graveyard, she ain’t gettin’ up.

All the friends I ever had are gone.

Delia, oh Delia, how can it be?

You loved all them rounders, never did love me.

All the friends I ever had are gone.

Delia, oh Delia, how could it be?

You wanted all them rounders, never had time for me.

All the friends I ever had are gone.

935

World Gone Wrong

Stack A Lee (trad./Frank Hutchinson) Released on World Gone Wrong (1993) Tabbed by Eyolf Østrem

C Csus4 C Hawlin Alley on a dark and drizzly night, F G Billy Lyons and Stack-A-Lee had one terrible fight.

C (Csus4 C Csus2 All about that John B. Stetson hat.

C)

Stack-A-Lee walked to the bar-room, and he called for a glass of beer, Turned around to Billy Lyons, said, "What are you doin’ here?"

"Waitin’ for a train, please bring my woman home.

"Stack-A-Lee, oh Stack-A-Lee, please don’t take my life.

Got three little children and a-weepin’, lovin’ wife.

You’re a bad man, bad man, Stack-A-Lee." "God bless your children and I’ll take care of your wife.

You stole my John B., now I’m bound to take your life."

All about that John B. Stetson hat.

Stack-A-Lee turned to Billy Lyons and he shot him right through the head, Only taking one shot to kill Billy Lyons dead.

All about that John B. Stetson hat, Sent for the doctor, well the doctor he did come, Just pointed out Stack-A-Lee, said, "Now what have you done?

You’re a bad man, bad man, Stack-A-Lee." Six big horses and a rubber-tired hack, Taking him to the cemetery, but they failed to bring him back.

All about that John B. Stetson hat.

Hawlin Alley, thought I heard the bulldogs barkIt must have been old Stack-A-Lee stumbling in the dark.

He’s a bad man, gonna land him right back in jail.

High police walked on to Stack-A-Lee, he was lying fast asleep.

High police catched Stack-A-Lee, and he jumped forty feet.

He’s a bad man, gonna land him right back in jail.

Well they got old Stack-A-Lee and they laid him right back in jail.

Couldn’t get a man around to go Stack-A-Lee’s bail.

All about that John B. Stetson hat.

Stack-A-Lee turned to the jailer, he said,"Jailer, I can’t sleep. ’Round my bedside Billy Lyons began to creep."

All about that John B. Stetson hat.

Csus4 Csus2 936

x33010 x30010

stack a lee

The figure at the end of the verse, that I have denoted “C Csus4 C Csus2” is just a quick florish of the underlying C major chord, and can of course be replaced by a C throughout. There are other occasional Csus4’s sprinkled throughout the verses. Use your ear (and your fingers).

Dylan’s Liner Notes from the album STACK A LEE is Frank Hutchinson’s version. what does the song say exactly? it says no man gains immortality thru public acclaim. truth is shadowy. in the pre-postindustrial age, victims of violence were allowed (in fact it was their duty) to be judges over their offenders-parents were punished for their children’s crimes (we’ve come a long way since then) the song says that a man’s hat is his crown. futurologists would insist it’s a matter of taste. they say “let’s sleep on it” but theyre already living in the sanitarium. No Rights Without Duty is the name of the game & fame is a trick. playing for time is only horsing around. Stack’s in a cell, no wall phone. he is not some egotistical degraded existentialist dionysian idiot, neither does he represent any alternative lifestyle scam (give me a thousand acres of tractable land & all the gang members that exist & you’ll see the Authentic alternative lifestyle, the Agrarian one) Billy didnt have an insurance plan, didnt get airsick yet his ghost is more real & genuine than all the dead souls on the boob tube-a monumental epic of blunder & misunderstanding. a romance tale without the cupidity.

937

World Gone Wrong

Two Soldiers Trad.

Released on World Gone Wrong (1993) Tabbed by Eyolf Ă&#x2DC;strem Capo 2nd fret (sounding key D major) Use first two lines as interlude between verses.

G/d C/e G/d C F : . . : . . : . . : . . : . . : . . ||--3---3-3-3---|-3---3---3---|-------------|-1---1-1-1----|-----1-1-1---|-----1-1-1-1-|-----1-1-1-1-| ||*-0---0-0-0---|-0---1p0-0---|-1---1-1-----|-1---1-1-1----|-----1-1-1---|-----1-1-1-1-|-----1-1-1-1-| ||--0---0-0-0---|-0---0---0---|-0---0-0-----|-2---2-2-2----|-----2-2-2---|-----2-2-2-2-|-----2-2-2-2-| ||--0-------0---|-0---2p0-0---|-2---2-2-----|-3---3-3-3----|-----3-3-3---|-----3-3-3-3-|-----3-3-3-3-| ||*-------------|-------------|-0h3---------|-3------------|-3-----------|-3-----------|-3-----------| ||--------------|-------------|---------3---|-1------------|-1-----------|-1-----------|-1-----------| C : . . : . . : . . : . . : . .

Fine |---1-1-1-1-1-|-----1-0-0-0-|-0---0-0-0----|-----0-0-0-0-|-----0-0-0-0-|-----0-0-0---|| |---1-1-1-1-1-|-----1-0-0-1-|-1---1-1-1----|-----1-1-1-1-|-----1-1-1-1-|-----1-1-1--*|| |---2-2-2-2-2-|-----2-0-0-0-|-0---0-0-0----|-----0-0-0-0-|-----0-0-0-0-|-----0-0-0---|| |---3-3-3-3-3-|(0h3)3-3-3(2)|-2------------|-2-----------|-------------|-0h2---------|| |-3-----------|-0h3------(3)|-3------------|-------------|-------------|------------*|| |-------------|-------------|-3------------|-------------|-3-----------|-------------||

Variant, 2nd time: : . . : . . : . . |---1---------|-------------|-0-----------|---1---1---1-|-----1-1-----|-1-----------|---2---2---2-|-----0-0-----|-0---etc. ---|-3---0---3---|-3p2-----0---|-2-----------|-3---0---3---|-------------|-3-----------|-------------|-------------|-------------Csus4 C/e G/d G/d /e /f C/g Csus4 C/e G/d G/d /e C/g : . . : . . : . . : . . : . . : . . |---0---0---3-|---3---0---0-|-0---0-0-0---|-0---0-0-0-0-|---0---0---3-|---3---3---3-| |-1---1---0---|-0---0---0---|-0h1-1-1-1---|-1---1-1-1-1-|-1---1---0---|-0---0---1---| |-0---0---0---|-0---0---0---|-0-----------|-0-----------|-0---0---0---|-0---0---0---| |-3---2---0---|-0---2---3---|-------------|-------------|-3---2---0---|-0---2-------| |-------------|-------------|-------------|-------------|-------------|-------------| |-------------|-------------|-------------|-------------|-------------|-------------| : . . : . . |-----3-3-3-3-|-----3-3-3-3-|| |-0---0-0-0-0-|-----0-0-0-0-|| DC al fine |-0-----------|-0-----------|| |-------------|-0-----------|| |-------------|-------------|| |-------------|-------------||

938

two soldiers

He was just a blue-eyed boston boy His voice was low in pain "I’ll do your biddin’, comrade mine, If I ride back again But if you ride back and I am left You’ll do as much for me Mother, you know, must hear the news, so write to her tenderly."

She’s waiting at home like a patient saint, Her fond face pale with woe Her heart would be broken when I am gone I’ll see her soon, I know.

Just then the order came to charge For an instance, hand touched hand They said, "Aye!" and away they rode, That brave and devoted band.

Straight was the track to the top of the hill the rebels, they shot and shelled Plowed furrows of death through the toiling ranks, And guarded them as they fell There soon came a horrible, dying yell From heights that they could not gain And those whom doom and death had spared Rode slowly down again But among the dead that were left on the hill was the boy with the curly hair The tall dark man who rode by his side Lay dead beside him there There’s no-one to write to the blue-eyed girl The words that her lover had said.

Mama, you know, awaits the news, And she’ll only know he’s dead.

939

World Gone Wrong

Jack-A-Roe Traditional arranged by Bob Dylan Released on World Gone Wrong (1993) Tabbed by Eyolf Østrem

Am

|

|

|

G |Am

|

|

|

Am C Am Oh, there was a wealthy merchant, in London he did dwell Am C F C He had a lovely daughter, the truth to you I’ll tell Am E Am Oh, the truth to you I’ll tell.

/b

She had sweethearts a-plenty and men of high degree There was none but Jackie Frazier, her true love e’er to bee Oh, her true lover e’er to be.

"Oh daughter, oh daughter your body I will confine If none but Jack the sailor, would ever suit your mind Oh, would ever suit your mind."

"This body you may imprison, my heart you can’t confine There’s none but Jack the Sailor would have this heart of mine Oh, would have this heart of mine."

Now Jackie’s gone a-sailing with trouble on his mind To leave his native country and his darling girl behind Oh, his darling girl behind.

She went into the tailor shop and dressed in men’s array Then she went into a vessel to convey herself away Oh, convey herself away.

"Before you step on board, sir, your name I’d like to know" She smiled all in her countenance, said, "They call me Jack-A-Roe" Oh, they call me Jack-A-Roe. "Your waist is light and slender, your fingers neat and small Your cheeks too red and rosy for to face the cannonball" Oh, to face the cannonball.

"I know my waist is slender and my fingers they are small But it would not make me tremble for to see ten thousand fall" Oh, to see ten thousand fall.

The war soon being over, they hunted all around Among the dead and dying her darling love she found Oh, her darling love she found.

She picked him up all in her arms and carried him to town And sent for her physician to quickly heal his wounds Oh, to quickly heal his wounds.

940

jack-a-roe

This couple, they got married, so well they did agree This couple they got married, so why not you and me Oh, so why not you and me ?

941

World Gone Wrong

Lone Pilgrim

By B.F. White and Adgar M. Pace Released on World Gone Wrong (1993) Tabbed by Eyolf Ă&#x2DC;strem Capo 2nd fret (original key D major) * denotes a bass run: e-f : x32010 x33010

C G C Dm/f C F C F C F G C Csus4 C . . | . . . | . . . | . . . | . . . | |-------------------------------------0--------------------------------------|-5---3---1---3---1---1---1---3---1---1---1-----1-1---0---1-------1-------1--|-5---4---0---2---0---2---0---2---0---0---2-----2-2---0---0-------0-------0--|-5---5---2---3---2---3---2---3---2---2---3-----3-3---0---2-------3-------2--|---------------------3---3-----------3-------------------3-------3-------3--|----------------------------------------------------------------------------Csus4 C F C F G C I came to the place where the lone pilgrim lay G C/g G And pensively stood by his tomb F C Csus4 C F G C When in a low whisper I heard something say: G C Csus4 C How sweetly I sleep here alone.

F C Csus4 C F G C The tempest may howl and the loud thunder roar * C G And gathering storms may arise F G C Csus4 C F G C But calm is my feeling, at rest is my soul * G C The tears are all wiped from my eyes.

C F C Dm F C G F C F C . . | . . . | . . . | . . . | |------------------------------------------------------------|-5---1---1-------3---1---1-------0---1---1-------1---1---1--|-5---2---0-------2---2---0-------0---2---0-------0---2---0--|-5---3---2-------3---3---2-------0---3---2-------2---3---2--|---------------------------------------------------------3--|------------------------------------------------------------C F G C F G C The call of my master compelled me from home G C/g G No kindred or relative nigh F G C F G C I met the contagion and sank to the tomb * G C Csus4 C My soul flew to mansion on high.

942

C G C Dm F C . . | . . . | |---------------------0------|-5---1---1---3---1---1---1--|-5---2---0---2---2---2---0--|-5---3---2---3---3---3---2--|----------------------------|----------------------------C F G C F G Go tell my companion and children most G C/g G To weep not for me now Iâ&#x20AC;&#x2122;m gone F G C Csus4 C F The same hand that led me through seas G C Csus4 C Has kindly assisted me home.

C dear G C most severe

943

36 Unplugged Recorded November 17–18, 1994 — Released May 2, 1995

,!198 ,!770 ,!276 ,!94 946 ,!220 ,!226 ,!166 951 ,!374 ,!194 ,!103 ,!234

Tombstone Blues Shooting Star All Along the Watchtower The Times They Are A-Changin’ John Brown Desolation Row Rainy Day Women #12 & 35 Love Minus Zero/No Limit Dignity Knockin’ on Heaven’s Door Like a Rolling Stone With God on Our Side I Want You

Unplugged

John Brown Written by Bob Dylan Recorded as Witmark and Broadside demos in 1963 and performed occasionally in the early days (Gaslight II, Bob Dylan in Concert), but not released officially on a Dylan album until Unplugged (1995).

Tabbed by Eyolf Ă&#x2DC;strem

Gaslight II version From the second of the three concerts at the Gaslight Cafe, late october 1962. First known performance of this song. The other early performances are all similar to this; some use the simple drop D tuning.

Double drop D tuning (D-A-d-g-b-dâ&#x20AC;&#x2122;) Capo 5th fret (sounding key G minor) Chords: D/f "A"/e D5 C9 G/b

303030 (more correctly: Dm/f) 202020 000230 (no third) 030030 (or more correctly: Cadd9) 020030

Basic accompaniment pattern for the verses, with lots of variations (such as playing the descending figure on the fourth string instead of the fifth), but over the same pattern: D5 C9 D5 C9 G/b D5 D5 C9 G/b D5 : . . . : . . . : . . . : . . . |-0---------------|-0---0---0-------|-0-------0---0---|-0---------------| |-3---------------|-3---3---3-------|-3-------3---3---|-3---------------| |-2---------------|-0---0---2-------|-2-------0---0---|-2---------------| |-0-------0-------|-0---0---0-------|-0-------0---0---|-0-------0-------| |-0-----3---------|-3---2---0-------|-0-------3---2---|-0-----3---------| |-0---------------|---------0-------|-0---------------|-0---------------| D5 C9 D5 C9 G/b D5 C9 G/b D : . . . : . . . : . . . : . . . |-0---------------|-0---0---0-------|-0-----------0---|-0---------------| |-3---------------|-3---3---3-------|-3-----------3---|-3---------------| |-2---------------|-0---0---2-------|-0-----------0---|-2---------------| |-0-------0-------|-0---0---0-------|-0-----------0---|-0-------0-------| |-0-----3---------|-3---2---0-------|-3-----------2---|-0-----3---------| |-0---------------|---------0-------|-----------------|-0---------------|

Intro (the figure in the first bar is often used as an interlude between the verses, and the second line is used for the exclamations between some of the verses):

946

john brown

D/f "A"/e D5 D/f "A"/e D5 : . . . . . : . . . . . |-0---0---0---------------|-0---0---0----------------------------------|-3---2---3---------------|-3---2---3---------------repeat last figure-|-0---0---2---------------|-0---0---2---------------a couple of times,-|-3---2---0-------0-------|-3---2---0-------0-------then:--------------|---------------3---------|-0---0---0-----3----------------------------|-------------------------|-3---2---0----------------------------------D/f "A"/e D5 D/f A/e D5 : . . . : . . . : . . . : . . . . |-0---------------|-0---------------|-0---------------|-0---0---0---------|-3---------------|-2---------------|-3---------------|-3---2---3---------|-0---------------|-0---------------|-2---------------|-0---0---2---------|-3---------------|-2---------------|-0-------0-------|-3---2---0-------0-|-0---------------|-0---------------|-0-----3---------|---------0-----3---|-3---------------|-2---------------|-0---------------|---------0---------Oh! Lord! from my home!

When John Brown went off to war to fight on a foreign shore.

His mother sure was proud of him!

As he stood straight and tall in his uniform and all.

His mother’s face broke out all to a grin.

"Oh son, you look so fine, I’m glad you’re a son of mine, You make me proud to know you hold a gun.

Do what the captain says, lots of medals you will get, And we’ll put them on the wall when you come home."

When that old train pulled out, John’s ma began to shout, Tellin’ ev’rybody in the whole neighborhood: "That’s my son that’s about to go, he’s a soldier now, you know."

She made well sure her neighbors understood.

Oh! Lord! Understood!

She got a letter once in a while and her face broke into a smile As she showed them to the people from next door.

And she bragged about her son with his uniform and gun, And these things you called a good old-fashioned war.

Then They Then Your

the letters ceased to come, for a long time they’d never come. ceased to come for about nine months or more. a letter finally came saying, "Go down and meet the train. son’s a-coming home from the war."

Oh! Lord! From the war.

She smiled and went right down, she looked up and all around But she did not see her soldier son in sight.

But as all the people passed, she saw her son at last, When she did she could hardly believe her eyes.

His face was all shot up and his hands were both blown off And he wore a metal brace around his waist.

He whispered kind of slow, in a voice she did not know,

947

Unplugged

While she couldn’t even recognize his face!

"Oh How His And

my darling son, tell me what to you they done. is it that you come to be this way?" mouth could hardly move as he tried his best to talk she did not even recognize his voice.

"Don’t you remember, Ma, when I went off to war You thought it was the best thing I could do?

I was on the battleground, you were home, feeling proud.

Thank God you wasn’t standing in my shoes."

"Oh, I thought when I was there, God, what am I doing here?

I’m a-tryin’ to kill my enemy or die tryin’.

But as the enemy came close, the thing that hurt me most As I saw that his face looked just like mine."

Oh! Lord! Just like mine!

"And I couldn’t help but think, through the thunder sound and stink, That I was just a puppet in a play.

And through the roar and smoke, this string is finally broke, And a cannon ball blew my eyes away."

As he turned away to walk, his Ma was still in shock At seein’ the metal brace that helped him stand.

But as he turned to go, he called his mother close And he dropped his medals down into her hand.

Oh! Lord! To her hand!

Bismarck, June 15, 1990 Chords: D/c G/b Gm/Bb

x30030 (Cadd9) x20030 (G6/b) x10030 (Gm6/Bb)

The chords gradually change from this: D John Brown went off to war to fight on a foreign shore. /c /b D His mama sure was proud of him!

He stood so straight and tall in his uniform and all. /c /b D His mama’s face broke out into a grin.

To this:

948

john brown

D /c Oh his face was all shot off and his hand were both blown back G/b D And he wore a metal brace around his waist.

D /c He whispered kind of slow, in a voice she did not know, G/b D While she couldn’t even recognize his face!

And with the ending: |: D . . . | /c . . . | G/b . . . | Gm/bb . . . :| D

Otherwise the lyrics are more or less as in the Unplugged version.

Unplugged version An occasional lick: A : . . . |-----------------|-------|-----2-2---------|-------|-----2-2---------|-------|-----2-2---------|-------|-0-------3h0-----|-0-----|-------------3---|-------A John Brown went off to war to fight on a foreign shore.

G D/f# A His mama sure was proud of him!

A He stood so straight and tall in his uniform and all.

G D/f# A His mama’s face broke out into a grin.

"Oh son, you look so fine, I’m glad you’re a son of mine, You make me proud to know you hold a gun.

Do what the captain says, lots of medals you will get, And we’ll put them on the wall when you get home."

That old train pulled out, John’s ma began to shout, Tellin’ ev’rybody in the neighborhood: "That’s my son that’s about to go, he’s a soldier now, you know."

She made well sure her neighbors understood.

She she she And

got a letter once in a while, showed them to the people from bragged about her son with his these things you called a good

her face broke into a smile next door. uniform and gun, old-fashioned war.

Then the letters ceased to come, for a long time they did not come. ceased to come for about ten months or more.

949

Unplugged

Then a letter finally came saying, "Go down and meet the train.

Your son is coming back from the war."

She smiled and she went right down, she looked up and all around But she did not see her soldier son in sight.

When all the people passed, she saw her son at last, When she did she could not believe her eyes.

Oh his face was all shot off and his hand were blown away And he wore a metal brace around his waist.

He whispered kind of slow, in a voice she didn’t know, While she couldn’t even recognize his face!

"Oh tell me, my darling son, tell me what they done.

How is it you come to be this way?"

He tried his best to talk but his mouth could hardly move And his mother had to turn her face away.

"Don’t you remember, Ma, when I went off to war You thought it was the best thing I could do?

I was on the battleground, you were home acting proud.

You wasn’t there standing in my shoes."

"Well, and I thought when I was there, Lord, what am I doing here? tryin’ to kill somebody or die tryin’.

But the thing that scared me most when my enemy came close I could see that his face looked just like mine."

"And I couldn’t help but think, through the thunder rolling stink, I was just a puppet in a play.

And through the roar and smoke, this string it finally broke, And a cannon ball blew my eyes away."

As he turned away to go, his Mother was acting slow seein’ the metal brace that helped him stand.

But as he turned to leave, he called his mother close And he dropped his medals down into her hand.

A . . . G . . . D/f# . . . F . . .

A . . . G . . . D/f# . . . F . . .

A . . . G . . . D/f# . . . F . . . A

950

dignity

Dignity (Words and Music by Bob Dylan) (or James Damiano?)

1994 Special Rider Music Released on Greatest Hits vol. 3 (1994) and on Unplugged (1995) in a live version.

Unplugged version (the Greatest hits version is basically the same, but with a capo on the 3rd fret) C Fat man lookin in a blade of steel Thin man lookin at his last meal F C Hollow man lookin in a cottonfield F/g C For dignity Wise man lookin in a blade of grass Young man lookin in the shadows that pass Poor man lookin through painted glass For dignity G Somebody got murdered F Somebody said dignity F I went into the city, Dm Went into the land of

on New Years Eve C was the first to leave C/e went into the town F/g the midnight sun

Searchin high, searchin low Searchin everywhere I know Askin the cops wherever I go Have you seen dignity?

Blind man breakin out of a trance Puts both his hands in the pockets of chance Hopinâ&#x20AC;&#x2122; to find one circumstance Of dignity I went to the wedding of Mary-Lou She said I dont want nobody see me talkin to you Said she could get killed if she told me what she knew About dignity I went down where the vultures feed I wouldâ&#x20AC;&#x2122;ve gone deeper, but there wasnt any need Heard the tongues of angels and the tongues of men Wasnt any difference to me Chilly wind sharp as a razor blade

951

Unplugged

House on fire, debts unpaid Gonna stand at the window, gonna ask the maid Have you seen dignity?

Drinkin’ man listens to the voice he hears In a crowded room full of covered up mirrors Lookin into the lost forgotten years For dignity Met Prince Phillip at the home of the blues Said hed give me information if his name wasn’t used He wanted money up front, said he was abused By dignity Footprints runnin cross the silver sand Steps goin down into tattoo land I met the sons of darkness and the sons of light In the bordertowns of despair Got no place to fade, got no coat I’m on the rollin river in a jerkin boat Tryin’ to read a note somebody wrote About dignity Sick man lookin’ for the doctors cure Lookin’ at his hands for the lines that were And into every masterpiece of literature For dignity Englishman stranded in the blackheart wind Combin’ his hair back, his future looks thin Bites the bullet and he looks within For dignity Someone showed me a picture and I just laughed Dignity never been photographed I went into the red, went into the black Into the valley of dry bone dreams So many roads, so much at stake So many dead ends, I’m at the edge of the lake Sometimes I wonder what its gonna take To find dignity

952

37 Time out of Mind Released September 30, 1997

954 956 959 963 965 968 970 972 975 977 980

Love Sick Dirt Road Blues Standing In The Doorway Million Miles Tryin’ To Get To Heaven ’Til I Fell In Love With You Not Dark Yet Cold Irons Bound Make You Feel My Love Can’t Wait Highlands

Time out of Mind

Love Sick Words and music by Bob Dylan Released on Time out of Mind (1997) Tabbed by Eyolf Østrem

Em I’m walking, D Em through streets that are dead Walking, D Em walking with you in my head D My feet are so tired B Am Am7 My brain is so wired Em And the clouds are weeping Did I, hear someone tell a lie Did I, hear someone’s distant cry I spoke like a child You destroyed me with a smile while i was sleeping G A

G A I’m sick of love*) Em That I’m in the thick of it G A G A This kind of love Em I’m so sick of it I see, I see lovers in the meadow I see, I see silhouettes in the window I watch them ’til they’re gone and they leave me hangin’ on to a shadow I’m sick of love I hear the clock tick this kind of love I’m lovesick Sometimes the silence can be like thunder Sometimes I wanna take to the road of plunder

954

love sick

Could you ever be true?

I think of you and I wonder I’m sick of love I wish I’d never met you I’m sick of love I’m tryin’ to forget you Em D Just don’t know what to do C B Em I’d give anything to be with you

*) from a post to r.m.d. from Patricia Jungwirth: “stay me with flagons, comfort me with apples: for I am sick of love’‘ – The Song of Solomon, 2:5 (in the absence of jh, I feel it’s my duty to point out that the phrase “sick of love’’ here means “sick with love’‘. Of course, we all know that “stay’’ means strengthen, “flagons’‘ were cakes (not wine bottles – they didn’t have them!) and “apples’’ were probably oranges) Tricia

955

Time out of Mind

Dirt Road Blues Words and music by Bob Dylan Released on Time out of Mind (1997) Tabbed by Eyolf Østrem The guitars in the original recording are playing high up on the fretboard, so I originally suggested a capo on the 5th fret and the chords E, A, and B. Then it is possible to play the little lick that runs through the whole song: with E with A : . . . : . . . : . . . : . . . |-3b------0-----0-|-----------0-----||-3---------------|------------------|| |-0-----------2---|-----0---2-------||-2-------5---2-5-|---------2-5------|| |-1---------------|-----------------||-2---------------|-----4------------|| |-2---------------|-----------------||-2---------------|------------------|| |-2---------------|-----------------||-0---------------|------------------|| |-0---------------|-----------------||-----------------|------------------||

Note 1: it is mostly played on the E, but can occasionally be heard for the other chords too.

Note 2: It is played with the tone on the 2nd fret, 2nd string, although the 3rd fret falls more naturally, to me, at least.

Note 3: It’s easier and sounds better if the initial bent note is moved to the second beat, so that the first beat gets a clear bass note.

Another option is to use the 076750 shape for the E. The open third string can be left sounding, since it produces the same clash as the first note in the lick, which leaves you with enough fingers to play a modified version of the lick, combined with the bass figure: : . . . : . . . |-----------------|-----------------| |-----7b--5-----5-|-----------------| (or 8 or 8b on the first note on this string) |-------------7---|-----------------| |-6---------------|-6---------------| |-7---------------|-7-------5---7---| |-0---------------|-0---7-----------|

For the B I’d suggest to leave out the lick an instead do the bass: B7 E : . . . : . . . : . . . : . . . : |(3)--------------|-----------------|-----------------|-----------------|---|-0---------------|-----------------|-----------------|-----------------|---|-2---------------|-----------------|-----------------|-----------------|---|-1---------------|-----------------|-----------------|-----------------|---|-2-----------0---|-2-----------0---|-2-----------0---|-2---0-----------|---|---------2-------|---------2-------|---------2-------|---------3---2---|-0--

It may be easier to make an interesting solo-song out of it with no capo and something like the following bass line, which can be combined with a variant of the lick, an octave lower (or just play the bass line – that’s much easier. . . ):

956

dirt road blues

with A with D : . . . : . . . : . . . : . . . |-----------------|-----------------||----------------|-----------------|| |-----------------|-----------------||(3)-------------|-----------------|| |-5b------2-----2-|-----------------||-5b-----2-----2-|-----------------|| |-2-----------4---|-----------------||-0----------4---|-0---------------|| |-0---------------|-0---------------||----------------|--------0---3----|| |-----------------|--------0----3---||----------------|-----------------|| with E : . . . : . . . : . . . : . . . |-0---------------|-----------------|-----------------|-----------------|---|-5---------------|-----------------|-----------------|-----------------|---|-7---------------|-----------------|-----------------|-----------------|---|-6---------------|-----------------|-----------------|-----------------|---|-7-----------5---|-7-----------5---|-7-----------5---|-7---5---3---2---|-0-|-0-------7-------|---------7-------|---------7-------|-----------------|----

Capo 5th fret (original key A) E Gonna walk down that dirt road ’Til someone lets me ride A E Gonna walk down that dirt road ’Til someone lets me ride B If I can’t find my baby E I’m gonna run away and hide Well, I been pacing round Well, I been Laying round

pacing round the room, hoping maybe she come back the room, hoping maybe she come back praying for salvation in a one-room country shack

Gonna walk down that Gonna walk down that ’Til there’s nothing ’Til the chains have But I’m looking Rolling Looking

dirt dirt left been

road, until my eyes begin to bleed road, until my eyes begin to bleed to see shattered and I been freed

looking at my shadow, I been watching the clouds up above at my shadow, watching the clouds up above through the rain and hail for the sunny side of love

Gonna walk down that dirt road ’til everything becomes the same Gonna walk down that dirt road ’til everything becomes the same I keep on walking ’til I hear her holler out my name

Version with no capo: A Gonna walk down that dirt road ’Til someone lets me ride D A Gonna walk down that dirt road ’Til someone lets me ride

957

Time out of Mind

E7 If I can’t find my baby A I’m gonna run away and hide

958

standing in the doorway

Standing In The Doorway Words and music by Bob Dylan Released on Time out of Mind (1997) Tabbed by Eyolf Østrem See http://www.dylanchords.com/38_toom/doorway.htm for a version with textual commentaries.

Capo 4th fret (just for the sake of convenience. . . ). This seems like a song in the vein of Simple twist of fate in open tuning, more or less the same beginning.

C major E major Chords (capo 4th) open tuning C C/b Am C/g F Bb/f G D C

032010 x22020 002210 332010 133211 113331 320003 x00232

|: C C/b Am C/g

054000 044000 020020 000000 555555 575655 777777 222222 000000

(or 050000 or 000000) (or 004000) (or 020120) (or 575675)

:|

C /b Am C/g I’m walkin’ through the summer nights C /b Am C/g the jukebox playing low C /b Am C/g yesterday everything was goin’ too fast C /b Am C/g Today it’s movin’ too slow F Bb/f F I got no place left to turn F Bb/f F I got nothin’ left to burn

Bb/f F

G

C /b Am C/g Don’t know if I saw you if I would kiss you or kill you C /b Am C/g It probably wouldn’t matter to you anyhow F C G D You left me standing in the doorway cryin’ F C I got nothin’ to go back to now.

The light in this place is so bad Makin’ me sick in the head All the laughter is just makin’ me sad The stars have turned cherry red I’m strummin’ on my gay guitar Smokin’ a cheap cigar

959

Time out of Mind

The ghost of our old love has not gone away Don’t look it like it will anytime soon You left me standin’ in the doorway cryin’ Under the midnight moon.

Maybe they’ll get me and maybe they won’t But not tonight and it won’t be here There are things I could say, but I don’t I know the mercy of God must be near I been ridin a midnight train Got ice water in my veins I would be crazy if I took you back It would go up against every rule You left me standin’ in the doorway cryin’ Sufferin’ like a fool.

When the last rays of daylight go down Buddy you’ll roll no more I can hear the church bells ringin’ in the yard I wonder who they’re ringin’ for I know I can’t win But my heart just won’t give in Last night I danced with a stranger But she just reminded me you were the one You left me standin’ in the doorway cryin’ In the dark land of the sun.

I eat when I’m hungry drink when I’m dry And live my life on the square And even if the flesh falls off of my face I know someone will be there to care It always means so much Even the softest touch I see nothing to be gained by any explanation There’s no words that need to be said You left me standin’ in the doorway cryin’ Blues wrapped around my head.

Live version 2003 New arrangement during the 2003 southern US tour. The basic structure of the song is the same as the album version, but a new riff has snuck into the first part, with the chords in the descent coming twice as fast and with an extra turn at the end. In the version that has been available to me (Austin, 20 April 2003) it sounds as if the two different guitars are in two different capo positions: the main rhythm guitar at the 3rd fret and the other at the 1st fret. I have given suggestions for the main riff in those two positions. In the 3rd position there are two suggestions, one which is more or less what is played by the band, the other a version which is more suitable for a single guitar. In the 1st-fret version I have included the chords to the whole verse.

The Am (Bm with capo 1st fret) could also be played F (G) Capo 3rd fret (sounding key Eb major)

960

standing in the doorway

C G/b Am C/g : . . : . . : . . : . . |-------------|-------------|-------------|-------------| |/5---5-5-5---|-3---3-3-3---|-1---1-1-1---|-1---1-1-1---| |/5---5-5-5---|-4---4-4-4---|-2---2-2-2---|-0---0-0-0---| |-------------|-------------|-------------|-------------| |-------------|-------------|-------------|-------------| |-------------|-------------|-------------|-------------| C/e F Gsus4 G : . . : . . : . . : . . |-------------|-------------|-------------|-------------| |-1---1-1-1---|-1---1-1-1---|-1---1-1-1---|-0---0-0-0---| |-0---0-0-0---|-2---2-2-2---|-0---0-0-0---|-0---0-0-0---| |-2---2-2-2---|-3---3-3-3---|-0---0-0-0---|-0---0-0-0---| |-------------|-------------|-------------|-------------| |-------------|-------------|-------------|-------------|

Or, if you want the descent in the bass (which is probably better on a single guitar): C G/b Am C/g : . . : . . : . . : . . |-------------|-------------|-------------|-------------| |-----1-1-1---|-----1-1-1---|-----1-1-1---|-----1-1-1---| |-----0-0-0---|-----0-0-0---|-----0-0-0---|-----0-0-0---| |-----2-2-2---|-----0-0-0---|-----2-2-2---|-----2-2-2---| |-3-----------|-2-----------|-0-----------|-------------| |-------------|-------------|-------------|-3-----------| C/e F Gsus4 G : . . : . . : . . : . . |-------------|-------------|-------------|-------------| |-----1-1-1---|-----1-1-1---|-----0-0-0---|-----0-0-0---| |-----0-0-0---|-----2-2-2---|-----0-0-0---|-----0-0-0---| |-----2-2-2---|-----3-3-3---|-----0-0-0---|-----0-0-0---| |-------------|-------------|-3-----------|-2-----------| |-0-----------|-1-----------|-3-----------|-------------|

Capo 1st fret: D A/c# Bm D/a : . . : . . : . . : . . |-------------|-------------|-------------|-------------| |-7-----------|-5-----------|-3-----------|-3-----------| |-7-----------|-6-----------|-4-----------|-2-----------| |-------------|-------------|-------------|-------------| |-------------|-------------|-------------|-------------| |-------------|-------------|-------------|-------------| D/f# G Asus4 A : . . : . . : . . : . . |-------------|-------------|-------------|-------------| |-3-----------|-3-----------|-3-----------|-2-----------| |-2-----------|-4-----------|-2-----------|-2-----------| |-4-----------|-5-----------|-2-----------|-2-----------| |-------------|-------------|-------------|-------------| |-------------|-------------|-------------|-------------|

961

Time out of Mind

D A/c# Bm D/a D/f# G Asus4 A I’m walkin’ through the summer nights D A/c# Bm D/a D/f# G Asus4 A jukebox playing low D A/c# Bm D/a D/f# G Asus4 yesterday everything was movin’ too fast D A/c# Bm D/a D/f# G A D Today it’s moving, moving too slow G C G I got no place left to turn G C G I got nothin’ left to burn

A

C G

A

D A/c# Bm D/a D/f# G Asus4 I don’t know if I saw you if I would kiss you or kill you D A/c# Bm D/a D/f# G A D It probably wouldn’t matter to you anyhow G D A E You left me standing, standing in the doorway cryin’ G D/f# Em7 D Ah, well, I got nothin’ to go back to now.

962

A

million miles

Million Miles Words and music by Bob Dylan Released on Time out of Mind (1997) Tabbed by Eyolf Østrem Capo 4th fret (Original key A[m). The sevenths are generally “instable”. Any bluesy addition to the basic chord goes (and probably is somewhere in the soundscape of the recording. . . ).

Em You took a part of me that I really miss I keep asking myself how long it can go on like this A7 You told yourself a lie Em Thats alright mama I told myself one too B7 A7 Em I try to get closer but I’m still a million miles from you You took the silver, you took the gold You left me standing out in the cold People asked about you, I didn’t tell them everything I knew Well I try to get closer but I’m still a million miles from you I’m driftin in and out of dreamless sleep Somehow my memory’s in a ditch so deep Did so many things I never did intend to do And I try to get closer but I’m still a million miles from you I need your love so bad, turn your lamp down low *) I need every bit of it for the places that I go Sometimes I wonder, tell us just what its all coming to Well I try to get closer but I’m still a million miles from you ...

Well I don’t dare Maybe in the next Feel like talking Well I try to get

close my eyes and I don’t dare wink life I’ll be able to hear myself think to somebody but I just don’t know who closer but I’m still a million miles from you

Yes the last thing you said before you hit the street Gonna find me a janitor to sweep me off my feet I said thats alright mamma you, you do what you gotta do Well I try to get closer I’m still a million miles from you Rock me pretty baby rock me all at once, Rock me for a little while Rock me for a couple of months And I’ll rock you too I try to get closer but I’m still a million miles from you Well there’s voices in the night trying to be heard I’m sitting here listening to every mind-pollutin’ word I know plenty of people put me up for a day or two Yes I try to get closer but I’m still a million miles from you

963

Time out of Mind

*) from a post to r.m.d. by Jesse Anderson: “I haven’t seen this reference yet, but in “Million Miles”, the line ‘Turn your lamp down low’ is from Blind Willie Mctell’s great Statesboro Blues.

Jesse”

964

tryin’ to get to heaven

Tryin’ To Get To Heaven Words and music by Bob Dylan Released on Time out of Mind (1997), and played live in a quite different version in 2000 Tabbed by Eyolf Østrem For lyrical commentaries, see http://www.dylanchords.com/38_toom/heaven_comments.htm For another song with the same refrain, recorded in 1995, check out this spooky tale.

Album version Capo 3rd fret (original key Eb major).

There seems to be a continuous G somewhere in the F chord of the second last line. (“I’ve been walking. . . ”) The distinguishing sound is the a–d that breaks in both in the C and the G chords. Below are two suggestions, one with the flourish in the upper parts, the other in the bass. The C6add9 chord can also be played 03023x

F/c G/b G(add9) F C C6add9 F . . : . . . : . . . : . . . : . . .

---------|-----------------|-----------------|-----------------|-----------------||--------------|-0---------------|-------3-----1---|-1---------------|---------------3-||------2---0---|-0---------------|---2-2---2---2---|-0---------------|-------------2---||-2----3---0---|-0---------------|-------------3---|-2---------------|-------------2---||-3----3---2---|-2---------------|-------------3---|-3---------------|-------------3---||-3------------|-3---------------|-------------1---|-----------------|-------------0---||-1---or

F/c G/b G(add9) F C C6add9 F . . : . . . : . . . : . . . : . . .

---------|-----------------|-----------------|-----------------|-----------------||--------------|-0---------------|-------------1---|-1---------------|-------------1---||-1----2---0---|-0---------------|-------------2---|-0---------------|-------------0---||-2----3---0---|-0---------------|-------0-----3---|-2---------------|-------------0-0-||-3----3---2---|-2---------------|---0-0---0---3---|-3---------------|-------------0---||-3------------|-3---------------|-------------1---|-----------------|-------------0---||-1---F G F C The air is gettin’ hotter, there’s a rumblin’ in the skies.

F G I’ve been wadin’ through the high muddy waters, F C But the heat riseth in my eyes.

Am/F# F Everyday your memory goes dimmer, Dm C It doesn’t haunt me like it did before.

F G I’ve been walkin’ through the middle of nowhere,

965

Time out of Mind

F C Tryin’ to get to heaven before they close the door.

When I was in Missouri, they would not let me be.

I had to leave there in a hurry, I only saw what they let me see.

You broke a heart that loved you, Now you can seal up the book and not write anymore.

I’ve been walkin’ that lonesome valley, Tryin’ to get to heaven before they close the door.

People on the platforms, waitin’ for the trains.

I can hear their hearts a-beatin’, like pendulum swingin’ on chains.

When you think that you’ve lost everything, You find out you can always lose a little more.

I’m just going down the road feelin’ bad, Tryin’ to get to heaven before they close the door. ...

I’m goin’ down the river, down to New Orleans.

They tell me everything is gonna be all right, But I don’t know what all right even means.

I was ridin’ in a buggy with Miss Mary Jane, Miss Mary Jane got a house in Baltimore.

I’ve been all around the world boys, I’m tryin’ to get to heaven before they close the door.

Gotta sleep down in the parlor, and relive my dreams.

I close my eyes and I wonder, if everything is as hollow as it seems.

Some trains don’t pull no gamblers, No midnight ramblers like they did before.

I’ve been to Sugartown, I shook the sugar down, Now I’m tryin’ to get to heaven before they close the door.

Live version, 2000 (various locations) Did Dylan ever play chords like this before? No. Is it the best re-write since Tangled up in blue 1978? Yes. Did I just have to tab it? Yes. Chords: Em7 Dm7-5 Fmaj7 Am/f#

079787 x5656x 133210 202210

(or 020000) or xx0111 or x-8-10-9-10-0 or x04555

Em7 . . . Am . . . Dm7-5 . . . C(maj7) Fmaj7 Dm7-5 The air is gettin’ hotter,

966

tryin’ to get to heaven

Em7 Am7 there’s a rumblin’ in the skies.

Fmaj7 I’ve been wadin’ through the high muddy Em7 Am But the heat riseth in my eyes.

Am/f# F Everyday your memory goes dimmer, Dm C It doesn’t haunt me like it did before.

Fmaj7 I’ve been walkin’ through the middle of Em7 Am Tryin’ to get to heaven Dm7-5 before they close C the door.

Dm7-5 waters,

Dm7-5 nowhere,

967

Time out of Mind

’Til I Fell In Love With You Words and music by Bob Dylan Released on Time out of Mind (1997) Tabbed by Eyolf Østrem Standard three-chord blues, with more of a E feeling than G, so therefore:Capo 6th fret (Original key B major)

E Well my nerves are exploding And my body is tense I feel like the whole world got me pinned up against the fence A I been hit too hard Seen too much E Nothing can heal me now But your touch B I just don’t know what I’m gonna do A E I was allright ’til I fell in love with you Well my house is on fire Burnin’ to the sky Well I thought it would rain But the clouds passed by I feel like I’m comin’ To the end of my way But I know God is my shield And he won’t lead me astray Still I don’t know what I’m gonna do I was allright ’til I fell in love with you Boys in the street Beginnin’ to play Girls like birds Flyin’ away When I’m gone You will remember my name I’m gonna win my way To wealth and fame Yet I just don’t know what I’m gonna do I was allright ’til I fell in love with you Well junk’s pilin’ up Takin’ up space My eyes feel Like they’re fallin’ off my face Sweat fallin’ down I’m starin’ at the floor I’m thinkin’ about that girl Who won’t be back no more I just don’t know what to do

968

’til i fell in love with you

I was allright ’til I fell in love with you Well I’m tired of talkin’ I’m tired of tryin’ to explain My attempts to please you They were all in vain Tomorrow night Before the sun goes down If I’m still among the livin’ I’ll be Dixie bound Still I just don’t know what I’m gonna do I was allright ’til I fell in love with you

969

Time out of Mind

Not Dark Yet Words and music by Bob Dylan Released on Time out of Mind (1997) Tabbed by Eyolf Østrem Sounds very C major-ish in the chords, but can of course be played in E directly. The C/G chords of the second part of the verse contain a D on some occasions.

Once again:Capo 4th fret (original key E major)

C F/C C Shadows are falling and I been here all day F/C C It’s too hot to sleep and time is running away G G/F C/E C Feel like my soul has turned into steel Am C/G F C I’ve still got the scars that the sun didn’t heal G G/F C/E C There’s not even room enough to be anywhere Am C/G F C It’s not dark yet, but it’s getting there Well my sense of humanity is going down the drain Behind every beautiful thing, there’s been some kind of pain She wrote me a letter and she wrote it so kind She put down in writin’ what was in her mind I just don’t see why I should even care It’s not dark yet, but it’s getting there Well I been to London and I been to gay Paris I followed the river and I got to the sea I’ve been down to the bottom of a world full of lies I ain’t lookin for nothin’ in anyone’s eyes Sometimes my burden is more than I can bear It’s not dark yet, but it’s getting there I was born here and I’ll die here, against my will*) I know it looks like I’m movin’ but I’m standin’ still Every nerve in my body is so vacant and numb I can’t even remember what it was I came here to get away from Don’t even hear the murmur of a prayer It’s not dark yet, but it’s getting there

*)From a recension by Martin Grossman Dylan the Talmudist In the last verse of “Not Dark Yet,” Dylan paraphrases lines from the Pirke Avot, which lends credence to the rumors that he has been studying Talmud in recent years. He sings, • I was born here and I’ll die here against my will In the Pirke Avot (Ethics of the Fathers), 4:29, the language is strikingly similar: 970

not dark yet

• “And not let your evil inclination assure you that the grave will be a place of refuge for you – for against your will you were created, against your will you were born, against your will you live, against your will you die, and against your will you are destined to give an account before the Supreme King of Kings, the Holy One Blessed be He.”

971

Time out of Mind

Cold Irons Bound Words and music by Bob Dylan Released on Time out of Mind (1997) Tabbed by Eyolf Østrem

Time out of Mind version Capo 6th fret (original key B[ major).

The “Bbdim’‘ is only a faint approximation to the wealth of notes sounding at this point (and never twice the same, it seems). A chord like x12300 or x12202 captures that fairly well, but there are really no “correct’’ chords here!

The same goes for the other two chords – basically tonic, fifth and a lot of blue notes.

Em7 I’m beginning to hear voices and there’s no one around now I’m all used up and the fields have turned brown I went to church on Sunday and she passed by and my love for her is taking such a long time to die Bbdim A7 Em7 Lord I’m waist deep, waist deep in the mist Bbdim A7 Em7 It’s almost like, almost like I don’t exist A7 G Em7 I’m 20 miles out of town, Cold Irons bound The walls of pride is high and wide, can’t see over to the other side It’s such a sad thing to see beauty decay, it’s sadder still to feel your heart torn away one look at you and I’m out of control like the universe has swallowed me whole I’m 20 miles out of town and Cold Irons bound There’s too many people, too many to recall I thought some of ’em were friends of mine I was wrong about ’em all Well, the road is rocky and the hillside’s mud Up over my head nothing but clouds of blood I found my world, I found my world in you but your love just hasn’t proved true I’m 20 miles out of town, Cold Irons bound 20 miles out of town, Cold Irons bound ...

Well the winds in Chicago have torn me to shreds reality has always had too many heads some things last longer than you think they will there are some kind of things you can never kill

972

cold irons bound

it’s you and you only I’m thinking about but you can’t see in, and it’s hard looking out I’m 20 miles out of town, Cold Irons bound Well the fat’s in the fire, and the water’s in the tank and the whiskey’s in the jar, and the money’s in the bank I tried to love and protect you because I cared I’m gonna remember forever the joy we’ve shared but looking at you and I’m on my bended knee you have no idea what you do to me I’m 20 miles out of town Cold Irons bound 20 miles out of town, Cold Irons bound

Live versions (2000-) Kenneth Mirandola has noted that in live versions (fall 2001) “both Campbell and Larry played with capoes. Larry was capoed at the first fret and Sexton at the third.” These are the chords according to those two capo positions.

I’ve tabbed out some suggestions for licks for the version with A major chords. The changes between A and A7 (G and G7 in the second version) are not played as regularly as in the tab.

The Ebdim descent could also be seen (and played) as a descent eb-d-c-b over a sustained D7 or D9 (xx0210) chord.

Guitar capoed on 1st fret: Chords: A A7 Ebdim Ebdim/d

xx7655 xx5655 (=A7/g) xx1212 (or xx1210) xx0212

A A7 I’m beginning to hear voices and there’s no one around A A7 now I’m all used up and the fields have turned brown A A7 I went to church on Sunday and she passed by A A7 and my love for her is taking such a long time to die Ebdim /d /c /b A Lord I’m waist deep, waist deep in the mist Ebdim /d /c /b A It’s almost like I don’t even exist D C A I’m 20 miles out of town, Cold Irons bound A A7 : . . . : . . . : . . . : . . . x8 ||---------5------------|---------------|-----------5-------------|------------------|| ||*--------5------------|---------------|-----------5-------------|-----------------*|| ||---------6------------|---------------|-----------6-------------|------------------|| ||---------7------------|---------------|-----------5-------------|------------------|| ||*---------------------|---------------|-------------------------|-----------------*|| ||----------------------|---------------|-------------------------|------------------||

973

Time out of Mind

Ebdim /d /c /b A : . : . . . : . . . : . . . |-------------||--------------------------|-------------------------|-----------------| |-------------||*-1---1-1---1-1---1-1---1-|-etc---------------------|-----------------| |-------------||--2---2-2---2-2---2-2---2-|-------------------------|-----------------| |-------------||--1---1-1---1-0---0-0---0-|-------------------------|-----------------| |-------------||*-------------------------|-3---3-3---3-2---2-2---2-|-0---------------| |-------------||--------------------------|-------------------------|-----------------| D C : . . . : . . . : . . . |-------------------------||-------------------------|--------------------------| |------------------------*||*------------------------|--------------------------| |-------------------------||-----------------2-------|-----------------2--------| |-------------------------||-----------5-----------5-|-----------5------------5-| |------------------------*||*------------------------|--------------------------| |-------------------------||-------------------------|--------------------------| A : . . . |-------------------------|| |------------------------*|| |-------------------------|| |-------------------------|| |------------------------*|| |-------------------------||

Guitar capoed on 3rd fret: G G7 I’m beginning to hear voices and there’s no one around G G7 now I’m all used up and the fields have turned brown G G7 I went to church on Sunday and she passed by G G7 and my love for her is taking such a long time to die Dbdim /c /Bb /a G Lord I’m waist deep, waist deep in the mist Dbdim /c /Bb /a G It’s almost like I don’t even exist C Bb G I’m 20 miles out of town, Cold Irons bound

974

make you feel my love

Make You Feel My Love Words and music by Bob Dylan Released on Time out of Mind (1997) Tabbed by Eyolf Østrem This is a piano tune on the record, but harmonically it is an almost exact copy of “Simple twist of fate”, and can preferably be played on guitar in open tuning (E or D), with the chords 054000, 044000, 034000, 020120, xx5450, 000000, 222222 (or even better 020220), x02100, 000000 for the verse and 021020, 000000, 010010, 021020, 000000, 021020, 000000, 222120, x02102 (or -00 or -20), 000000 for the bridge. Got that. . . ?

In standard tuning it is most easily played using G as tonic, but I give it here in C, as that is closest to the key of the recording. Capo 1st fret (Original key D[ major).

C G/b C7/Bb F/a Fm/Ab C/g D9/f# G11 C+

x32010 x20003 (could even be played as an Em/B:x22000) x10033 x03211 433111 332010 200210 or 202210 333211 (w/thumb) or 3x3211 x32110

C G/b When the rain is blowing in your face Gm/Bb F/a and the whole world is on your case Fm/Ab C/g I could offer a warm embrace D9/f# G11 C to make you feel my love When evening shatters and the stars appear and there is no one there to dry your tears I could hold you for a million years to make you feel my love F C I know you haven’t made your mind up yet C+ F C but I would never do you wrong F C I’ve known it from the moment that we met Dm G no doubt in my mind where you belong I’d go hungry, I’d go black and blue I’d go crawling down the avenue Oh there’s nothing that I wouldn’t do to make you feel my love The storms are raging on the rolling sea

975

Time out of Mind

and on the highway of regret the winds of change are blowing wild and free you ainâ&#x20AC;&#x2122;t seen nothing like me yet I could make you happy, make your dreams come true nothing that I wouldnâ&#x20AC;&#x2122;t do go to the ends of the earth for you to make you feel my love

976

can’t wait

Can’t Wait Words and music by Bob Dylan Released on Time out of Mind (1997) Tabbed by Eyolf Østrem Capo 4th fret (Original key A[ blues) The recurrent chord is a shimmering Esus4 which is never really resolved – or, for the sake of convenience, Em.

Em I can’t wait A Em Wait for you to change my mind It’s late A Em I’m tryin to walk the line Well it’s way past midnight And there’s some people all around A Some on their way up Some on their way down Em A The air burns and I’m tryin to think straight C B7 Em And I don’t know how much longer I can wait I’m your man I’ve tried to recover the sweet love that we knew You understand That my heart can’t go on beating without you Well your loveliness has wounded me I’m reeling from the blow I wish I knew what it was that keeps me loving you so I’m breathin’ hard standin’ at the gate And I don’t know how much longer I can wait Skies are gray I’m looking for anything that will bring a happy glow Night or day It doesn’t matter where I go anymore I just go 1) If I ever saw you comin’ I don’t know what I might do I’d like to think I could control myself But it isn’t true That’s how it is When things disintegrate And I don’t know how much longer I can wait A I’m doomed to love you Em I been rollin’ through stormy weather

977

Time out of Mind

A I’m thinkin’ of you Bsus4 And all the places we could roam together Em It’s mighty funny The end of time has just begun Oh honey, after all these years you’re still the one Well I’m strollin’ through the lonely graveyard of my mind I left my life with you Somewhere back there along the line I thought somehow that I would be spared this day I don’t know how much longer I can wait

1) From Josh Meisler: The lyric “night or day, it doesn’t matter anymore where I go, I just go” is conspicuously similar to a lyric in the Grateful Dead tune ‘Crazy Fingers’ which goes “gone are the days we stopped to decide where we should go, we just ride”, by Robert Hunter. Somewhat similar in construction and definitely in content.

2000 version The main changes are in the pace and the mood of the playing, not really much in the arrangement.

B7add11=x21200. Or play B7-10 (x21230) Em Em I can’t wait A Em Wait for you to change my mind It’s late A Em I’m tryin to walk the line *) Well it’s way past midnight And there’s some people all around A Some on their way up Some on their way down Em A The air burns and I’m tryin to think straight C B7add11 Em And I don’t know how much longer I can wait A I’m doomed to love you Em I been rollin’ through stormy weather

978

can’t wait

A I’m thinkin’ of you Bsus4 And all the places we could roam together *) Em A : . . . : . . . : . . . : . . . |-3---3---0-------|-----------------|-0---------------|-----------------| |-3h5-3---0---3---|-0---------------|-2---0-----------|-----------------| |-------------2---|-0---2---0-------|-------------0---|-----------------| |-----------------|-----4---2-------|---------4-------|-0-----2---------| |-----------------|-----------------|-----------------|-----4-----------| |-----------------|-----------------|-----------------|-----------------|

979

Time out of Mind

Highlands Words and music by Bob Dylan Released on Time out of Mind (1997) Tabbed by Eyolf Østrem E7 Well my heart’s in The Highlands, gentle and fair Honeysuckle blooming in the wildwood air A E7 Bluebells blazing where the Aberdeen waters flow B7 Well my heart’s in The Highlands A E7 I’m gonna go there when I feel good enough to go Windows were shaking all night in my dreams Everything was exactly the way that it seems Woke up this mornin’ and I looked at the same old page Same old rat race, life in the same old cage I don’t want nothin’ from anyone, ain’t that much to take Wouldn’t know the difference between a real blonde and a fake Feel like a prisoner in a world of mystery I wish someone’d come and push back the clock for me Well my heart’s in The Highlands wherever I roam That’s where I’ll be when I get called home The wind it whispers to the buckeyed trees in rhyme Well my heart’s in The Highlands I can only get there one step at a time I’m listening to Neil Young, I gotta turn up the sound Someone’s always yellin’ "Turn it down" Feel like I’m driftin’, driftin’ from scene to scene I’m wonderin’ what in the devil could it all possibly mean?

Insanity is smashin’ up against my soul You could say I was on anything but a roll If I had a conscience, well I just might blow my top What would I do with it anyway, maybe take it to the pawn shop My heart’s in The Highlands at the break of dawn by the beautiful lake of the Black Swan Big white clouds like chariots that swing down low Well my heart’s in The Highlands only place left to go I’m in Boston town in some restaurant I got no idea what I want or maybe I do but I’m just really not sure Waitress comes over, nobody in the place but me and her Well it must be a holiday, there’s nobody around She studies me closely as I sit down She got a pretty face and long white shiny legs I said "Tell me what I want"

980

highlands

She say "You probably want hard boiled eggs" I said "That’s right, bring me some" She says "We ain’t got any, you picked the wrong time to come" then she says "I know you’re an artist, draw a picture of me" I said "I would if I could but I don’t do sketches from memory" Well she’s?? near she says "I’m right here in front of you or haven’t you looked" I say "All right I know but I don’t have my drawin’ book" She gives me a napkin, she say "You can do it on that" I say "Yes I could but I don’t know where my pencil is at" She pulls one out from behind her ear She says "Alright now go ahead draw me I’m stayin’ right here" I make a few lines and I show it for her to see Well she takes the napkin and throws it back and says "That don’t look a thing like me" I said "Oh kind miss, it most certainly does" She say "You must be joking", I said "I wish I was" She says "You don’t read women authors do ya?" at least that’s what I think I hear her say Well I say "How would you know, and what would it matter anyway" Well she says "Ya just don’t seem like ya do", I said "You’re way wrong" She says "Which ones have you read then?", I say "Read Erica Jong" She goes away for a minute, and I slide out, out of my chair I step outside back to the busy street, but nobody’s goin’ anywhere Well my heart’s in The Highlands with the horses and hounds way up in the border country far from the towns with the twang of the arrow and the snap of the bow My heart’s in The Highlands, can’t see any other way to go Every day is the same thing, out the door feel further away than ever before Some things in life it just gets too late to learn Well I’m lost somewhere, I must have made a few bad turns I see people in the park, forgettin’ their troubles and woes They’re drinkin’ and dancin’, wearin’ bright colored clothes All the young men with the young women lookin’ so good Well I’d trade places with any of ’em, in a minute if I could I’m crossin’ the street to get away from a mangy dog talkin’ to myself in a monologue I think what I need might be a full length leather coat Somebody just asked me if I’m registered to vote The sun is beginnin’ to shine on me But it’s not like the sun that used to be The party’s over and there’s less and less to say I got new eyes, everything looks far away Well my heart’s in The Highlands at the break of day over the hills and far away

981

Time out of Mind

There’s a way to get there, and I’ll figure it out somehow Well I’m already there in my mind and that’s good enough for now

*) From a post at r.m.d.: Highlands source OK, so the song “Highlands” contains the line ’My heart’s in the highlands.” The source of this line (my apologies to all of you who know this already) is a song by Robert Burns. The song was first published in 1790, and, like many of Burns’s songs, was his own expansion of lines gathered from the folk tradition.

In the 1960s, as I recall, the song was somewhat scorned in Scotland.

(Andrew Muir can perhaps confirm this.) It was seen as one of Burns’s polite, sentimental songs, written for an English audience (as witness its English, not Scottish, vocabulary). In the 1960s, it was the kind of thing which would have been sung by genteel, middle-class, pseudo-Scots entertainers, rather than by the genuine singers of the Scottish folk renaissance. (That is, to get really local, it’s a song more likely to have been performed by Kenneth MacKellar than by Archie Fisher – right, Andy?)

Anyway, with these (serious) reservations, here are the lyrics: My heart’s in the Highlands, my heart is not here; My heart’s in the Highlands a-chasing the deer; Chasing the wild deer, and following the roe; My heart’s in the Highlands, wherever I go. – Farewell to the Highlands, farewell to the North; The birth-place of valour, the country of Worth: Wherever I wander, wherever I rove, The hills of the Highlands for ever I love. – Farewell to the mountains high cover’d with snow; Farewell to the Straths and green valleys below; Farewell to the forest and wild-hanging woods; Farewell to the torrents and loud-pouring floods. – My heart’s in the Highlands, my heart is not here, My heart’s in the Highlands a-chasing the deer; Chasing the wild deer, and following the roe; My heart’s in the Highlands, wherever I go. – Stephen Scobie

982

38 Bootleg Series vol. 4: Live 1966

The “Royal Albert Hall” Concert Recorded May 17, 1966 in Manchester Free TraDecember Hall. — Released 1998

,!159 ,!261 ,!229 ,!190 ,!220 ,!247 ,!177

She Belongs to Me 4th Time Around Visions of Johanna It’s All Over Now, Baby Blue Desolation Row Just Like a Woman Mr. Tambourine Man

985 ,!144

Tell Me, Momma I Don’t Believe You (She Acts Like We Never Have Met) Baby, Let Me Follow You Down Just Like Tom Thumb’s Blues Leopard-Skin Pill-Box Hat One Too Many Mornings Ballad of a Thin Man Like a Rolling Stone

,!38 ,!218 ,!244 ,!106 ,!208 ,!194

The somewhat cryptic title of this album reflects the fact that the concert, which circulated widely among collectors long before it was officially released, was for a long time believed to have been the final concert of the English tour (May 26 or 27, 1966), in the Royal Albert Hall, London.

984

tell me, momma

Tell Me, Momma Written by Bob Dylan Performed during the 1965/66 tour, and released on Live 1966 Tabbed by Eyolf Østrem (thanks to Andy for lyric suggestions) The lyrics below differ considerably from the official lyrics on bobdylan.com, but not so considerably from what he actually sings live. There are some blanks, though. Suggestions and corrections are welcome.

The tuning and the playing style is interesting: on the song that was chosen to open the electrical pandemonium, he uses a tuning and a playing style from his earliest acoustic days.

Dropped D tuning (D-A-d-g-b-e’), capo 7th fret (sounding key A major) D Dsus2 D/c G Em F#m

000232 000030 030030 020033 222000 444222

The rhythm isn’t at all obvious in the introduction: his foot-tapping is on the off-beats, but when the band enters, the full rhythm pattern corresponds well with what the intro would have been with the foot-tapping as the beats.

This figure, with variations, is repeated for the intro, and played during the beginning of the verses: D D/c D D9/f : . . . : . . . : . . . : . . . |-2-------2-----2-|-2-----------0---|-2-------2-----2-|-2-----------0---| |-3-------3-----3-|-3-----------3---|-3-------3-----3-|-3-----------3---| |-2-------2-----2-|-3-----------0---|-2-------2-----2-|-2-----------0---| |-0-------0-----0-|-0-----------0---|-0-------0-----0-|-0-------0---3---| |-0-------0-----0-|-0-------0---3---|-0-------0-----0-|-0---------------| |-0-------0-----0-|-0---------------|-0-------0-----0-|-0---------------|

D D/c D D/c Cold black glass don’t make no mirror D D/c D D/c Cold black water don’t make no tears G You say you love me with what may be love D Don’t you remember makin’ baby love?

Em Yes, you got your steam drill, F#m now you’re lookin’ for some kid Em To get it to work for you F#m like your nine-pound hammer did D Dadd2 D Dadd2 D G D Dadd2 But I know that you know that I know that you show

985

Live 1966

Em F#m A Something is tearing up your mind.

D Tell me, momma, Tell me, momma, Em Tell me, momma, what is it?

F#m D What’s wrong with you this time?

Black sun-glass [came here, pony run] *) Tombstone babes, y’all can get it done Fool’s gold in your teeth and cementary hips Get outside of your graveyard lips Yes, everybody’s wonderin’ when your friendship’s gonna end But come on, baby, I’m your friend!

And I know that you know that I know that you show Something is tearing up your mind. **) Tell me, momma, Tell me, momma, Tell me, momma, what is it?

What’s wrong with you this time?

Ohh, [you’re pleasing?] but your face is red That ain’t he can’t get it, he’s almost dead.

Everybody sees you on your window ledge How long’s it gonna take for your to get off the edge You just gonna make everybody jump and roar Now, whatcha wanna go and do that for?

For I know that you know that I know that you know Something is tearing up your mind.

Ah, tell me, momma, Tell me, momma, Tell me, momma, what is it?

What’s wrong with you this time?

*) The end of the line is dubious, but in Liverpool (5/14) he clearly sings “pony run’‘ somewhere.

Sydney, Apr 13, 1966 has: “With your dark sun-glasses on your Babylon chest’’ (different continuation). **) Sydney: “Sometimes / my time’s / the right time / to go, / now, / what’s resting on your mind?”

986

39 “Love And Theft” Recorded Spring 2001 — Released September 11, 2001

988 991 993 998 1002 1004 1008 1010 1013 1015 1018 1020

Tweedle Dee And Tweedle Dum Mississippi Summer Days Bye And Bye Lonesome Day Blues Floater (Too Much To Ask) High Water (For Charlie Patton) Moonlight Honest With Me Po’ Boy Cry Awhile Sugar Baby

“Love And Theft”

Tweedle Dee And Tweedle Dum Words by Bob Dylan. Music taken from Johnnie & Jack’s “Uncle John’s Bongos” (pointed out by Eben Hensby) Released on Love And Theft (2001) Tabbed by Eyolf Østrem

B Tweedle Dum and Tweedle Dee They’re throwing knives into the tree Two big bags of dead man’s bones Got their noses to the grindstone E Living in the Land of Nod B Trusting their fate to the hands of God E They pass by so silently B Tweedle Dum and Tweedle Dee Well, they’re going to the country, they’re going to retire They’re taking a streetcar named Desire Looking at a window with a pecan pie Lot of things they’d like they would never buy Neither one want to turn and run And making a voyage to the sun.

"His master’s voice is calling me," Said Tweedle Dum to Tweedle Dee. Tweedle Dee and Tweedle Dum All that and more and then some They walk among the stately trees They know the secrets of the breeze Tweedle Dum said to Tweedle Dee, "Your presence is obnoxious to me, Feel like baby sitting on a woman’s knee."

Tweedle Dum and Tweedle Dee Well, the rain beatin’ down on a window pane I got love for you, and it’s all in vain Brains in a pot, they’re beginning to boil They’re dripping with garlic and olive oil.

Tweedle Dee is on his hands and his knees, Saying, "Throw me something, Mister, please!"

"What’s good for you is good for me," Said Tweedle Dum to Tweedle Dee. Well, they’re living in a happy harmony Tweedle Dum and Tweedle Dee They’re one day older and a dollar short They got a parade permit and a police escort

988

tweedle dee and tweedle dum

They’re lying low and they’re making hay They seem determined to go all the way They run a brick and tile company Tweedle Dum and Tweedle Dee Well, a childish dream is a deathless need And a noble truth is a sacred creed.

My pretty baby, she’s looking around.

She’s wearing a multi-thousand dollar gown.

Tweedle Dee is a low-down sorry old man.

Tweedle Dum, he’ll stab you where you stand.

"I’ve had too much of your company," Said Tweedle Dum to Tweedle Dee.

Some licks: Intro and recurring B figure: B : . . . : . . . : . . . : . . . |-----------------|-----------------| |-----------------|-----------------| |-----------------|-----------------| |-----------------|-----------------| |-----------------|-----------------|x3|-----------------|-----------------| |-----------------|-----------------| |-----------------|-2h4---3p2-------| |-2---5---2-------|-----2-5---2-----| |-2---5---2-------|-------------5---| |-------------5---|-2-5---------5---| |-------------5---|-----------------|

Transition to E (preceded by the B figure): E |-----------------|-----------------|----|-----------------|-----------------|----|-----------------|-----------------|----|-4---3---2---0---|---------0---1---|-2--|-----------------|-2---4-----------|----|-----------------|-----------------|-----

End of lines 5 and 7: E : . . . : . . . : . . . : . . . |-----7-----7-----|-7-----7-----7---|---7-----7-----7-|-----7-----7-----|---|-8h9---8h9---8h9-|---8h9---8h9---8-|h9---8h9---8h9---|-8h9---8h9-------|---|-----------------|-----------------|-----------------|-------------7b8-|---|-----------------|-----------------|-----------------|-----------------|-9-|-----------------|-----------------|-----------------|-----------------|---|-----------------|-----------------|-----------------|-----------------|----

End of line 6: |-------14-----------|-15b16---- x10 ---|---------as ---|---------- above ---|--------------------|---------------------

989

“Love And Theft”

Kenneth Mirandola comments that in live versions (fall 2001) “Larry played in A capoed on the second fret for a sounding key of B major. Sexton played uncapoed. So I think Larry played the intro riff. . . .and Sexton played the riff between the verses the end of lines 5 and 7 verses.”

Patrik Winquist confirms this, that “Larry played the opening riff in Stockholm with a capo on the 2nd fret”. So that would be: B : . . . : . . . : . . . : . . . |-----------------|-----------------| |-----------------|-----------------| |-----------------|-----------------| |-----------------|-----------------| |-----------------|-----------------|x3|-----------------|-----------------| |-----------------|-----------------| |-----------------|-0h2---1p0-------| |-0---3---0-------|-----0-3---0-----| |-0---3---0-------|-------------3---| |-------------3---|-0-3---------3---| |-------------3---|-----------------|

990

mississippi

Mississippi Words and music Bob Dylan Released on Love And Theft (2001) Tabbed by Eyolf Østrem A rare instance of a Dylan song with an ascending bass line (but there are others – “Like A Rolling Stone” is one).

The G at the end of the verses is probably best played G7sus4 (3x301x). G11 (3x3211) is another possibility.

The F chords in the verses could be played Fmaj7 (133210) Use G=320033 for the bridge section – just hold the -33 on the lighter strings and play the ascent in the bass.

The “/d’‘ in that passage (“Don’t even have anything’’) contains an f ; a possibility is to switch to G7sus4/d (x53533) here – or just leave out the f.

Intro (actually played one octave higher): C /d /e /f G C : . . . : . . . |---------------------------------|---------------------------------| |-----1-------1-------1-------1---|-3---3-------5-------------------| |---0---0---0---0---0---0---0---0-|-5---4-------5-------------------| |---------0-------2-------3-------|-5---5-------5-------------------| |-3-------------------------------|-------------3-------------------| |---------------------------------|---------------------------------| C Csus4 C Csus4 Every step of the way, we walk the line.

C Csus4 C F Your days are numbered, so are mine.

C F C F Time is piling up, we struggle and we scrape.

C /d /e /f G C We’re all boxed in, nowhere to escape.

City’s just a jungle, more games to play.

Trapped in the heart of it, trying to get away.

I was raised in the country, I been working in the town.

I been in trouble ever since I set my suitcase down.

G /a /b /c Got nothing for you, I had nothing before /d /e F G Don’t even have anything for myself anymore G /a /b /c Sky full of fire, pain pouring down /d /e F G Nothing you can sell me, I’ll see you around.

All my powers of expression, I thought so sublime, Could never do you justice in reason or rhyme Only one thing I did wrong,

991

“Love And Theft”

Stayed in Mississippi a day too long Well, the devil’s in the alley, mule’s in the stall Say anything you want to, I have heard it all I was thinking about the things that Rosie said I was dreaming I was sleeping in Rosie’s bed Walking through the leaves falling from the trees Feeling like a stranger nobody sees.

So many things that we never will undo I know you’re sorry, I’m sorry too.

Some people will offer you their hand and some won’t Last night I knew you, tonight I don’t I need something strong to distract my mind I’m gonna look at you ’til my eyes go blind Well, I got here following the southern star I crossed that river just to be where you are Only one thing I did wrong Stayed in Mississippi a day too long.

Well, my ship’s been split to splinters and it’s sinking fast.

I’m drowning in the poison, got no future, got no past.

But my heart is not weary, it’s light and it’s free.

I got nothing but affection for those who’ve sailed with me.

Everybody moving, if they ain’t already there.

Everybody got to move somewhere Stick with me baby, stick with me anyhow, Things should start to get interesting right about now My clothes are wet, tight on my skin Not as tight as the corner that I painted myself in I know that fortune is waiting to be kind So give me your hand and say you’ll be mine *) Now the emptiness is endless, cold as the clay You can always come back, but you can’t come back all the way Only one thing I did wrong Stayed in Mississippi a day too long

*) In the light of the reference to Othello and Desdemona in Po’ Boy, the following exchange from Measure for Measure is interesting (submitted by Mike Conley): Duke Vincentio [to Isabella]: If he be like your brother, for his sake Is he pardon’d; and, for your lovely sake, Give me your hand and say you will be mine. (Act V, Scene I, 484–486)

992

summer days

Summer Days Words and music Bob Dylan Released on Love And Theft (2001) Tabbed by Eyolf Østrem The song is a fairly straightforward rockabilly number, but the guitar parts are far from straightforward. The left channel guitar alternates between the high, ringing playing of the intro and the interludes, and the middle-range alternative in the bridges.

In the right channel there is a guitar with a descending figure, which can even be combined with the intro (see the end of the page for these two tabs). In the bridges, there is a trace of the “high version” in this channel, which seems to have been mixed out.

During the verses, the guitar plays the Eb chords on the backbeat: Eb : . . . |-------------------------| |-------------------------| |----8------8-----8-----8-| |----8------8-----8-----8-| |---10-----10----10----10-| |-------------------------|

In some verses the return from B[ to Eb in the last line passes through A[.

I haven’t written out the different solos in the interludes, but they follow the same chord pattern as the model in the intro. It can be played in different positions, of course, but if one plays the 11-13-11turn with the little finger and keeps a half barre on the 8th fret during the second A[ measure, it is playable as written below.

Intro: Eb7 Eb6 Eb+ Eb7 Ab . : . . . : . . .

------------|-11---11-11---11-11---11-11---11-|-11---11-11---11-11---11-11---11-| -11-13---11-|-14---14-14---14-13---13-13---13-|-12---12-12---12-11---11-13---13-| ------------|---------------------------------|-------------------------13---13-| ------------|---------------------------------|---------------------------------| ------------|---------------------------------|---------------------------------| ------------|---------------------------------|---------------------------------| Eb Ab Eb Ab : . . . : . . . : . . . |-11---11---------------------|--------------------------|----------------11---13-| |-11---11-9----9--8---8-8---8-|-8----8--8---8-8----------|-13-------------11---13-| |-12---12-8----8--8---8-8---8-|-8----8--8---8-8--------8-|-11---------------------| |---------10---10-8---8-9---9-|-10---10-9---9-8---8h10---|------------------------| |-----------------------------|--------------------------|------------------------| |-----------------------------|--------------------------|------------------------|

993

“Love And Theft”

Eb : . . . : . . . : . . . |-11--------------------------|--------------------------|---------------------| |-11--------------------------|--------------------------|---------------------| |------8-11--10-8-------------|-----8--------------------|/8------/8-----------| |--------------------8--------|--------------------------|---------------------| |----------------------11---9-|-10-----------------------|---------------------| |-----------------------------|--------------------------|---------------------| Ab7 Eb : . . . : . . . : . . . |-----------------------------|----------------------------|-----11-------11---------| |/13--13-----13------------13-|-----13-11-----13-----11----|-----11-------11---------| |/13--13-----13------------13-|-----13-12-----13-----11h12-|-----12-------12---------| |-----------------------------|(13)--------13----(13)------|-13----------------------| |-----------------------------|----------------------------|-------------------------| |-----------------------------|----------------------------|-------------------------| : . . . |-11--------11-------------| |-11--------11-------------| |-12--------12-------------| |-13--------13-------------| |--------------------------| |--------------------------| Eb Summer days, summer nights are gone, Ab7 Eb Summer days and summer nights are gone, Bb7 Eb I know a place where there’s still somethin’ goin’ on.

I got a house on the hill, I got hogs out in the mud, I got a house on the hill, I got hogs all out in the mud, I got a long-haired woman, she got raw Indian blood.

Everybody get ready, lift up your glasses and sing, Everybody get ready, lift up your glasses and sing, Well, I’m standin’ on the table, I’m proposin’ a toast to the king.

Well, I’m Eb7 Eb6 Eb+ Eb : . . . : . . . |-----------------------------|-----------------------------| |-8---8--8---8--8---8--8---8--|-8----8-8----8-8----8--------| |-8---8--8---8--8---8--8---8--|-8----8-8----8-8----8--------| |-11--11-11--11-10--10-10--10-|-9----9-9----9-8----8-10--10-| |-----------------------------|----------------------11--11-| |-----------------------------|-----------------------------| drivin’ in the flats in a Cadil -lac car.

The

994

summer days

Ab Eb Eb+ Eb6 Eb+ Eb (Eb7) : . . . : . . . |---------------------------|-------------------------| |--------9---9--8-----8-----|-8-----8-----8-----8-----| |-8---8--8---8--8-----8-----|-8-----8-----8-----6-----| |-8---8--10--10-8-----9-----|-10----9-----8-----8-----| |-10--10--------------------|-------------------------| |---------------------------|-------------------------| girls all say you’re a worn out star Ab7 Eb My pockets are loaded and I’m spendin’ every dime.

Bb7 How can you say you love someone else, Eb You know it’s me all the time. [intro] Well, the fog’s so thick you can’t spy the land, The fog is so thick that you can’t even spy the land, What good are you anyway if you can’t stand up to some old businessman.

Weddin’ bells are ringin’ and the choir is beginnin’ to sing, Yes, the weddin’ bells are ringin’ and the choir’s beginnin’ to sing, What looks good in the day, at night is another thing.

She’s lookin’ into my eyes, and she’s a-holdin’ my hand, She lookin’ into my eyes, she’s holdin’ my hand, She says, "You can’t repeat the past," I say "You can’t? What do you mean you can’t? Of course, you can."*) "Where do you come from?" "Where Sorry, that is nothin’ you would Well, my back’s been to the wall Why don’t you break my heart one

do you go?" need to know. so long, it seems like it’s stuck. more time just for good luck?

[intro] I got eight carburetors, boys, I’m usin’ ’em all, Well, I got eight carburetors and, boys, I’m usin’ ’em all, I’m short on gas, my motor’s startin’ to stall.

My dogs are barkin’, there must be someone around, My dogs are barkin’, there must be someone around, I got my hammer ringin’, pretty baby, but the nails ain’t goin’ down.

If you got somethin’ to say, speak or hold your peace, Well, you got somethin’ to say, speak now or hold your peace, If it’s information you want, you can get it from the police.

Politician’s got on his joggin’ shoes, He must be runnin’ for office, got no time to lose, Suckin’ the blood out of the genius of generosity.

You been a-rollin’ your eyes, you been teasin’ me. [intro]

995

“Love And Theft”

Standing by God’s river, my soul’s beginnin’ to shake, Standing by God’s river, my soul’s beginnin’ to shake, I’m countin’ on you, love, to give me a break.

Well, I’m leavin’ in the mornin’ as soon as the dark clouds lift, Yes! I’m leavin’ in the mornin’ just as soon as the dark clouds lift, Gonn’ break in the roof, set fire to the place as a parting gift.

Summer days, summer nights are gone, Summer days, summer nights are gone, I know a place where there’s still somethin’ goin’ on.

Eb

Ab/eb Eb

Eb9

2nd guitar, intro: ------------|---------------------------------|---------------------------------| ---------3--|-4----4--4----4--4----4--4----4--|-3----3--3----3------------------| -3--5-------|---------------------------------|-----------------6----6--5-----5-| ------------|---------------------------------|---------------------------------| ------------|---------------------------------|---------------------------------| ------------|---------------------------------|---------------------------------| |-----------------------------|------|-----------------------------|------|-3----3----------------------|------|---------6----6--5---5-3---3-|------- etc |-----------------------------|-6----|-----------------------------|-------

1st and 2nd guitars, combined (the 3rd string has to be damped – it’s a bit awkward, but it can be done. . . ): Eb7 Eb6 Eb+ Eb7 Ab . : . . . : . . .

------------|-11---11-11---11-11---11-11---11-|-11---11-11---11-11---11-11---11-| -11-13---11-|-14---14-14---14-13---13-13---13-|-12---12-12---12-11---11-9----9--| ------------|---------------------------------|---------------------------------| ------------|-13---13-13---13-13---13-13---13-|-12---12-12---12-11---11-10---10-| ------------|---------------------------------|---------------------------------| ------------|---------------------------------|---------------------------------| Eb Ab Eb : . . . : . . . |-----------------------------|--------------------|-8---8-----------------------|--------------------|-8---8-----------------------|--------------------|-8---8-10---10-8----8--------|---- etc -----------|-------11---11-10---10-8---8-|--------------------|-----------------------------|-11------------------

*) Here’s the full quotation from The Great Gatsby: 996

summer days

“You can’t repeat the past.”

“Can’t repeat the past?’‘ he cried incredulously. “Why of course you can!’’

“I’m going to fix everything just the way it was before,’‘ he said, nodding determinedly, “She’ll see.’’

997

“Love And Theft”

Bye And Bye Words by Bob Dylan. Music based on ‘Having Myself a Time’ by Leo Robin & Ralph Rainger, sung

by Billie Holiday (thanks to Trev for notifying me) Released on Love And Theft (2001) Tabbed by Eyolf Østrem For this song I believe in a capo on the 1st fret, at least in a solo acoustic tab, since the uncapoed version would be virtually unplayable. Both versions are included, though, with a list of suggested chords at the end.

A . Bbo . Bm7 . E A . Bbo . Bm7 . E

E7

Eo E7 By and by, A . .

I’m breathing a lover’s sigh. .

Bm7 Bbo Well, I’m sitting on my watch Bm7 E7 So I can be on time A7/g D/f# I’m singing love’s praises Dm/f E With sugar-coated rhyme.

Eo E7 By and by, A . . .

On you I’m casting my eye.

.

| .

.

E7 I’m paintin’ the town, Swingin’ my partner around Well, I know who I can depend on, I know who to trust I’m watchin’ the roads, I’m studying the dust I’m paintin’ the town A /c# Co E7/b Making my last go round.

| .

.

A

.

Co

.

.

C#7 G#7 Well, I’m scuffling, and I’m shuffling C#7 A7 G#7 And I’m walking on briars C# G#7 I’m not even acquainted C# G#/b# E7/b . E7 with my own desires I’m roamin’ slow, I’m doing all I know.

998

Co

G#7

*)

bye and bye

I’m telling myself I’ve found true happiness, That I’ve still got a dream that hasn’t been repossessed.

I’m roamin’ slow Going where the wild roses grow.

A Co E9 : . . . : . . . : . . . |-----------------------5-|-7---575-------------------|-------------------------| |-----------------5-7-----|---------7---5-------------|-------------7--------/9-| |-------------5h6---------|---------------5/6---------|-------------------------| |-------------------------|------------------(7)------|-------6---9-------------| |-------------------------|---------------------6-----|---6h7-------------------| |-------------------------|---------------------------|-------------------------| grow A Co : . . . : . . . : . . . |-------------------------|-------------------------|-------------------------| |-------------------------|-------------------------|-------------------------| |-----7---6h7-9-----9-----|-5/6---------------------|---5/6-------------------| |-------------------------|-----7-------------------|-------7---------------5-| |-------------------------|-------9---7-9---7-------|-----------9---9-7-9-----| |-------------------------|-------------------------|-------------------------| E9 A : . . . : . . . : . . . |-------------------7---7-|-7-------7-8-9-----------|-------------------------| |-------7---5-7---5-------|-----------------5-7---5-|-----------------------5-| |-------------------------|-------------------------|-5/6---------------5/6---| |-6-----------------------|-------------------------|-----7-------7-----------| |-------------------------|-------------------------|-------9---7-------------| |-------------------------|-------------------------|-------------------------| A G# : . . . |-5-----------------4-----| |-----5-----------4-------| |-------6-------5---------| |-----------7-6-----------| |-------------------------| |-------------------------| Well, the....

Well, the future for me Is already a thing of the past You were my first love And you will be my last.

Papa gone mad, Mama, she’s feeling sad.

Well, I’m gonna baptize you in fire So you can sin no more I’m gonna establish my rule Through civil war,

999